Page:Popular Science Monthly Volume 47.djvu/457

"Sometimes mythological scenes were performed in the arena with cruel accuracy. Condemned criminals had to mount the pyre like Hercules, or to give their hand to the flames like Mucius Scaevola, or to be crucified like Laureolus the robber; others were torn by bears, in imitation of the fate of Orpheus."

Having usually been an alien and possessing no odor of sanctity derived from his traditional religious function,—

The actor "was ranked with slaves and barbarians. . . he generally was a slave or freedman, or a native of some country where his profession was more esteemed, such as the Greek colonies and the East generally."

 

Little as one might have expected it, we find that the pagan genesis of the drama was paralleled by the Christian regenesis of it in mediæval Europe. It commenced, as in India, Greece, and Rome, with representations of sacred subjects by priestly actors. Incidents in the life of the god were dramatically repeated in edifices devoted to his worship.

"The circumstance that the ritual was carried on in Latin naturally led to its being supplemented on particular occasions with sacred scenes or lessons acted to the ignorant."

"Thus the raison d'être of the mysteries and miracle plays was to act stories from Scripture or the lives of Saints, or embodying central doctrines such as the incarnation, for the benefit of a populace unable to read for themselves."

But there are confused evidences and conflicting opinions respecting dramatic representations in early Christian days—secular and sacred origins appearing to be mingled. We read that "sometimes when a sufficient number of clerical actors were not to be procured, the churchwardens. . . caused the plays to be acted by secular players." And in the same work we also read that "complaint [to Richard II] is made against the secular actors, because they took upon themselves to act plays composed from scripture history, to the great prejudice of the clergy." But in another passage the writer, Strutt, says that these acted mysteries "differed greatly from the secular plays and interludes which were acted by strolling companies, composed of minstrels, jugglers, tumblers, dancers, bourdours or jesters. . . these pastimes are of higher antiquity than the ecclesiastical plays." Not improbably such companies may have survived from pagan times, in which their representations formed part of the pagan worship: losing their original meanings, as did the songs of the minstrels. This view seems congruous with the opinion that the secular drama did not arise by direct descent from the mystery-plays, but that, influenced by the familiarity of its writers both with them and with the popular exhibitions, it took its definite form mainly by suggestion of the classic drama: a supposition favored by the fact that in various Elizabethan plays a chorus is introduced. Be this