Could ancient mystery plays still be given modern twist? (From Craven Herald)

Could ancient mystery plays still be given modern twist?

12:10pm Saturday 3rd December 2011 in Craven History

Music has played a notable part in the history of Giggleswick Church. Dr CW Buck is best remembered for his friendship with Edward Elgar. Buck was also a folklorist, fascinated by the ancient Mummers’ Play. Dr Bill Mitchell, who lives in Giggleswick, recently located a file of Buck’s notes and booklets relating to the mystery play.

The last time the Mummers were active in Craven was just a few miles from Buck’s home. The play was performed at Rathmell in the spring of 1947 - a time of prolonged heavy snow, giving special distinction to The Fool’s opening lines: “Room, room, brave gallants.”

In this version of an ancient drama, St George wounded Slasher and was tended by the Doctor. St George was also belligerent in Act 2 when he slew the Black Prince of Paladine. Beelzabub carried a club and a dripping pan.

At Linton, in Upper Wharfedale, Jack Rider introduced Lord Nelson to the mystery play. Jack had served as a “loblolly boy” on board the Victory at Trafalgar. He returned to Linton after the battle and subsequently took part in the seasonal outdoor dramas.

Dr Buck set about his research into these ancient dramas methodically. Having approached former actors for information, he wrote down traditional tunes as they were sung for him. Back home, he orchestrated the pieces.

A musical play was produced at the Victoria Hall in Settle at Easter in 1891. Both the old and new versions were presented. Buck was keen that members of the audience could “see the connection”. The stage, laid out under the direction of Mr Handby, represented an old-fashioned farm kitchen The two plays were also presented in a concert held at the Victoria Hall in March, 1894.

Music was provided by the Settle Amateur String Band. Words and traditional music had been collected and arranged by Dr Buck and a local clergyman.

At the end of Part One, Mr Handby sang a traditional character song entitled Clapham Town End. This was a poem about two horse dealers who had steeds for sale.

Buck persuaded his friend Elgar to set it to music. Elgar doubtless wrote the tune briskly and promptly, keen to get rid of it! It was eventually rediscovered (by me) along with other Elgarian scores in the case of a grandfather clock inherited by Buck’s daughter.

Interest in the mystery plays was shared with the Rev Addison Crofton (late vicar of Giggleswick).

In its Yorkshire heyday, it was performed by a cast which, between performances, trudged from place to place in a selected village. When Buck’s interest evolved, all that remained of the production was “the ruins of it in various places”.

He circularised “clergymen, schoolmasters and other likely people” living in various parts of England and the Isle of Man.

Their information was “connected up” and passed to Mr Lambert, the Settle printer, who sold it as a pamphlet with a retail price of one shilling.

Where did the mystery play originate? And why should it have been performed in various forms in various lands?

Buck’s notion was that it was based on a fight between Paganism and Christianity, influenced by the Crusades.

In one version, St George vanquished the Paynim Knight Paradine (Black Prince of Morocco). This version had been modernised and apart from St George other characters were introduced to the simple plot.

Buck, writing in the 1930s, mentioned the cast who sustained the play’s two parts, including Devil Doubt, Little Johnny, Miser Brownbags, Tosspot, Hector, the King of Egypt and Jack Tar. The Mummers were active at Christmas and the Pace-Eggers went their rounds at Easter.

Arthur Raistrick, who lived at Linton-in-Craven for many years, was fascinated by the mystery play. To him it was not “slapstick comedy.” Indeed, one should stand in awe and respect before the play - a fragment of man’s earliest dramatisation of his religious beliefs. Arthur, who - like the aforementioned Jack Rider - lived for some years at Linton was especially interested in the Craven connections.

His thoughts went much further back.

In his opinion, the ancestors of the Mummers performed in the temple and palace courtyards of Babylon and other ancient places, also “in the clearings of primeval forest in many islands and continents”.

To Arthur, “the play is an ageless fragment of belief and deserves our veneration and respect”.

With over 30 known versions, it varied according to the part of the country where it was enacted.

There were lots of nonsense rhymes. The assembled cast were introduced at appropriate times by a man known simply as Prologue.

Characters had fanciful names, some versions including Beelzebub, Old Tosspot and Happy. In the opening sequence of one version, two principal characters, St George and Turkish Knight, argued, quarrelled and fought with swords. One was killed or disabled.

Prologue now called for The Doctor. His skill is challenged. He vindicated it in a variety of ways, one being a bottle of miraculous water. The dead man came back to life.

The company rejoiced, though - surprisingly - it was a character associated with the Devil that brought the ancient drama to a close. In a Craven performance, this would be followed by drink and refreshments.

Buck noted, about Pace-Egging, that although much had been lost, the late Professor Moorman, of Leeds University, had contributed a few fragments to a study of the mystery play. “We still have a very interesting version of what was once a great source of amusement at Easter Tide.

“Many of us are sorry that the old custom has died out when the Pace Eggers went from house to house and gave their play.”

Do scripts of plays performed by Mummers and Pace-Eggers still exist in Craven? If so, is there a chance that these relatively modern versions of ancient dramas might be presented again?