While the most potent factor in the dissemination of the early religious drama can be traced to Francis and the Franciscans, they were but promoters of a movement already well begun. Mystery plays were attempted before the Thirteenth Century in England and in North France. There is a well-known story from Matthew Paris, who wrote about the middle of the Thirteenth Century, of one Geoffrey who afterwards became Abbot of St. Albans. While yet a secular he borrowed certain precious religious vestments to be used in some sort of a miracle play in honor of St. Catherine. During the performance of the play, these vestments were destroyed by fire and Geogory was so much afflicted by the misfortune that in a spirit of reparation he became a religious in the Abbey of St. Albans. This must have been about the beginning of the Twelfth Century. Towards the end of this century mystery plays were not infrequent, though not in anything like the developed form nor popular character which they acquired during the Thirteenth Century. Fitz Stephen, writing the life of St. Thomas a Becket, towards the end of the Twelfth Century, contrasts the holier plays of London in his days with the theatrical spectacles of ancient Rome. The plays he mentioned were, however, scarcely more than slight developments of Church ceremonial with almost literal employment of scripture and liturgical language.
{ opp240} [Illustration] ST. FRANCIS' NATIVITY PLAY (GIOTTO)
The first cycle of mystery plays of which there is definite mention is that of Chester. According to the proclamation of the Chester plays, the representation of this cycle dates in some form from the mayoralty of John Arneway, who was the { 241} Mayor of Chester, between 1268 and 1276. Of the series of plays as given in the Thirteenth Century there are few remains. It is probable, even, that at this early date they were not acted in English but in French. English plays were probably first given in some of the Cathedral towns along the east coast of England, and perhaps York should have the credit of this innovation. It is easy to understand how the simpler dramatic additions to the ritual of the Church would inevitably develop in the earnest and very full religious life of the people which came with the building of the cathedrals, the evolution of Church ceremonial and the social life fostered by the trade-guilds of the time. While we have none of the remains of the actual plays of the Thirteenth Century, there is no doubt that an excellent idea of their form and content can be gathered from the English mystery plays, that have recently been edited in modern form and which serve to show the characteristics of the various cycles.