June 1. St Justin, Martyr, A. D. 167. St. Pamphilus, A. D. 309. R. Caprais, Abbot, A. D. 430. St. Peter, of Pisa, A. D. 1435. St. Wistan, Prince of Mercia, A. D. 849. St. Nicomede. This saint is in the English almanacs of this day; for what reason is unknown. He was an ancient martyr in no way distinguished from others who perished during the persecution under Domitian. CHRONOLOGY. June 2. Sts. Pothinus, Bp. Sanctus, Attalus This grand festival of the Romish church is held on the Thursday next after Trinity Sunday, in which order it also stands in the church of England calendar, and in the English almanacs. It celebrates 1794 Lord Howe's memorable vic- the doctrine of transubstantiation. In al: tory by sea over the French fleet. 1814. A newspaper of this day notices that the Tuesday preceding was observed at Burton, in Dorsetshire, as a great festival, in consequence of the arrival at that place of a vat of Hambro' yarn, from London, being the first that had come into the town for many years. The inhabitants met the waggon, took out the horse, decorated the vat with ribands, and various emblems of peace, plenty, trade and commerce, and drew the same through the village, preceded by a flag and band of music, amidst the acclamations of thousands, many of whom were regaled with bread, cheese, and strong beer: one loaf (among others) baked for the occasion, claimed the admiration of every one present; its length being six feet three inches, breadth twenty-one inches, depth fourteen inches, and its weight considerably above 100 lbs. To explain the occasion of this rejoicing, it is necessary to state that Burton, as a manufacturing place, had suffered under the privation which was felt more or less throughout the British dominions, by Buonaparte declaring them to be in a state of blockade. By this decree, from the continent of Europe being within his power, he was enabled to injure and derange the industry and commerce of our artisans and merchants to an extent that was not contemplated. They have happily been liberated by an unlooked-for, and wonderful, combination of circumstances; nor so long as good faith and wise dispositions prevail, can they be prevented from arriving to a height of prosperity unparalleled in our annals. FLORAL DIRECTORY. Yellow Rose. Rosa lutea. Dedicated to St. Justin Roman catholic countries it is observed with music, lights, flowers strewed in the street, rich tapestries hung upon the walls, and with other demonstrations of rejoicing: this is the usage still. Anciently in this country, as well as abroad, it was the custom to perform plays on this day, representing scripture subjects. From an author before cited, the following verses relating to these manners are extracted :— "Then doth ensue the solemne feast of Corpus Christi Day, Who then can shewe their wicked use, and fond and foolish play? The hallowed bread, with worship great, in silver pix they beare About the church, or in the citie passing here and theare. His armes that beares the same two of the welthiest men do holde, And over him a canopey of silke and cloth of golde. Christe's passion here derided is, with sundrie maskes and playes, Faire Ursley, with hir maydens all, doth passe amid the wayes: Aud, valiant George, with speare thou killest the dreadfull dragon here, The Devil's house is drawne about, wherein there doth appere A wondrous sort of damned sprites, Sebastian full of feathred shaftes, Brand The common ways with bowes are strawde, renown. Apollinarius, the elder, a pro and every streete beside, And to the walles and windowes all are boughes and braunches tide. The monkes in every place do roame, the nonnes abrode are sent, The priestes and schoolmen lowd do rore, The straunger passing through the streete, as on his God, doth call. For why, they counte it for their Lorde, The form of flesh, but nature now nor any filching hande: The Religious Plays performed on Corpus Christi Day, in the times of superstition, were such as were represented at other periods, though with less ceremony. From a volume on the subject, by the editor of the Every-Day-book he, relates so much as may set forth their origin and the nature of the performances. Origin of Religious Plays. A Jewish play, of which fragments are still preserved in Greek iambics, is the first drama known to have been written on a scripture subject. It is taken from Exodus: a performer, in the character of Moses, delivers the prologue in a speech of sixty lines, and his rod is turned into a serpent on the stage. The play is supposed to have been written at the close of the second century, by one Ezekiel, a Jew, as a political spectacle to animate his dispersed brethren with the hopes of a future deliverance from their captivity. The emperor Julian made a law that no Christian should be taught in the heathen schools, or make use of that learning; but there were two men living at that time, who exerted their talents to supply the deficiency of instruction and entertainment that the Christians experienced from Julian's edict: these were Apollinarius, bishop of Laodicea, and his father, a priest of the same city; they were both scholars, well skilled in oratory and the rules of composition, and of high literary Naogeorgus, by Googe. found philologer, translated the five books of Moses into heroic verse, and in the same manner composed the history of the Israelites to the time of Saul, into a poem of twenty-four books, in imitation of Homer. He also wrote religious odes, and turned particular histories and portions of the Old and New Testament into comedies and tragedies, after the manner of Menander, Euripides, and Pindar. His son the bishop, an eloquent rhetorician, and already an antagonist of Julian's, anxious that the Christians might not be ignorant of any species of Greek composition, formed the writings of the evangelists, and the works of the apostles, into dialogues, in the manner of Plato. About the same time, Gregory Nazianzen, patriarch and archbishop of Constantinople, one of the fathers of the church, and master to the celebrated Jerome, composed plays from the Old and New Testament, which he substituted for the plays of Sophocles and Euripides at Constantinople, where the old Greek stage had flourished until that time. The ancient Greek tragedy was a religious spectacle; and the sacred dramas of Gregory Nazianzen were formed on the saine model; he transformed the choruses into Christian hymns. One only of the archbishop's plays is extant: it is a tragedy cailed "Christ's Passion;" the prologue calls it an imitation of Euripides; the play is preserved in Gregory Nazianzen's works. The remainder of his dramas have not survived those inimitable compositions over which they triumphed for a time. It is not known whether the religious dramas of the Apollinarii perished so early as some of their other writings, that were ordered to be destroyed for, a crime common in all ages, heresy; but this is certain, that the learning they endeavoured to supply gradually disappeared before the progress of Constantine's establishment. Suddenly acquiring power, and finally assuming infallibility, observing pagan feasts as religious festivals, consecrating heathen rites into christian solemnities, and transforming the non-observances of primitive simplicity into precedents for gorgeous ceremony, the church blazed with a scorch ng splendour that Every withered up the heart of man. accession to the dominion of its ecclesiastics over his property and intellect induced self-relaxation and sloth; to the boldness that seized a liberal supply for spiritual support, succeeded the craft that extended it to a boundless revenue for effeminate indulgence. The miraculous powers of the church wonderfully multiplied; but mplicit belief in miracles was equivocal, unless the act of faith was accompanied by liberal contributions at the altar. The purchase of pardons for sin, and the worship of the relics exhibited in sumptuous shrines, were effectual ways of warring with the powers of darkness, and the coffers overflowed with contributions. These active hostilities against Satan occasioned him to ascend upon earth, and, to terrify the devout, he often appeared to them in the natural ugliness of his own proper person. When put to flight, by masses and holy water, he took lodgings incog. in the bodies of careless people, nor would he leave a tenement he occupied, till he was forcibly turned out of possession by a priest acquainted with the forms of ejectment. Dislike to clean linen was a peculiar mark of piety, and dirty hermits emitted the odour of sanctity. Though their holinesses were so violently hated by the devil, that he took the trouble to assault and tempt them in the holes of the earth and trunks of old trees where they inhabited, yet it was rewarded with visits to their chosen abodes from all the orders of heaven; and by long familiarity with the powers of the other world, these "tender-nosed saints could detect the presence of invisible angels." They who turn their backs upon the concerns of life were especial favourites above. A nun reported that Christ opened her side with his corporal hands, took out her heart, and then carefully placing his own in the chasm, left it there and closed the wound, at the same time doing her the honour to wear her shift. Nor did the faithful, who believed the former relation, doubt for an instant that the Virgin descended from heaven to visit the cells of monasteries, and milk her breasts into the mouths of monks. Doubts were effectually removed by burning doubters. All who were privileged to shave the top of the head in a circle, as a token of emancipation from worldly superfluities, were partners in the profitable trade of granting licenses for unmolested existence at the price of unconditional admission. Ecclesiastical policy accomplished its purpose: the human mind was in a delirium; the hierarchy at the summit of its ascendancy. From the complete establishment of the church until within a short time before the reformation, darkness overspread the world, and the great mass of the clergy themselves were in a state of deplorable ignorance. During this period, in order to wean the people from the ancient spectacles, particularly the Bacchanalian and calendary solemnities, religious shows were instituted partaking of the same spirit of licentiousness. To these shows the clergy added the acting of mysteries, or representing the miraculous acts of saints circumstances from apocryphal story, and subjects from the Old and New Testament. There are different opinions as to the religious class by whom they were introduced into Europe, though it seems reasonable to suppose that they were adopted by the Italians in the depth of the dark ages from the spiritual dramas of the Apollinarii, father and son, and Gregory Nazianzen; but, however that may be, there is no room for surprise that all writers concur in attributing the performance of mysteries, or religious plays, to the clergy of the catholic church. As mysteries arose with Gregory Nazianzen, it is not likely that his example as a father of the church should be lost sight of as soon as he had succeeded in destroying the performance of the ancient Greek plays; yet English writers do not appear to have traced sacred representations in a dramatic form until many centuries after Gregory Nazianzen's death. The first dramatic representation in Italy was a spiritual comedy, performed at Padua in 1243; and there was a company instituted at Rome in 1264, whose chief einployment was to represent the sufferings of Christ in Passion week. The rev. Mr. Croft, and the hon. Topham Beauclerc, collected a great number of these Italian plays or mysteries; and at the sale of their libraries, Dr. Burney purchased many of the most ancient, which he speaks of as being evidently much earlier than the discovery of printing, from the gross manner in which the subjects are treated, the coarseness of the dialogue, and the ridiculous situation into which most sacred persons and things are thrown. In 1313, Philip the Fair gave the most sumptuous entertainment at Paris ever remembered in that city. Edward II. and his queen Isabella, crossed over from England with a large retinue of nobility and partook of the magnificent festivities The pomp and profusion of the banquet. tings, the variety of the amusements, and the splendour of the costume were unsurpassed. On each of the eight days the princes and nobles changed their dresses three times; while the people were sometimes entertained with representations of the Glory of the blessed, at other times with the Torments of the damned, and various other spectacles. In 1402, by an edict of Charles VI. dated Dec. 4, the mystery of the conception, passion, and resurrection of Christ, was performed at St. Maur, about five miles from Paris. At the council at Constance, in the year 1417, the English fathers played the mystery of the massacre of the Holy Innocents. The mystery of the passion was performed on the entrance of the kings of France and England at Paris, on December 1. 1420, in the street Kalende, before the palace, upon a raised scaffolding of one hundred paces in length. In the Royal Library of Paris, No. 4350, is Le Mystere de la passion Jesus Christ; Paris, printed by Antoine Verard, 1490, folio. This is a fine copy on vellum with every page richly illuminated, and containing a MS. note in French, purporting to be an extract from an old chronicle, entitled, "Histoire de Metz veritable," whence it appears that its performance was attended by many foreign lords and ladies whose names are specified, and that there were lanthorns placed in the windows during the whole time of the plays but the most curious part of the MS. note is, that, "in the year 1437, on the 3rd of July was represented the game or play, de la Passion, N. S. in the plain of Vexmiel, when the park was arranged in a very noble manner, for there were nine ranges of seats in height rising by degrees; all around and behind were great and long seats for the lords and ladies. On the stage was represented the mouth of hell, it is described as having been very well done, for that it opened and shut when the devils required to enter and come out, and had two large eyes of steel." On the 27th of May, 1509, was performed at Romans, in Dauphiny, before the Cordelier's church, the Mystery of the Three Dons. In this religious play, which lasted three days, there are emissaries who undertake very long journeys, and must come back before the play can be ended. The scene, besmeared with the blood of the three martyrs, the Dons, is sometimes at Rome, sometimes at Vienna, soon after at Lyons, and at other times in the Alps. The stage constantly represents hell and paradise; and Europe, Asia, and Africa, are cantoned in three towers. Some metaphysical beings are most curiously personified. Dame Silence, for instance, speaks the prologue; Human Succour, Divine Grace, and Divine Comfort, are the supporters of the heroes and heroines of the piece, while hell exhibits monsters and devils, to frighten the audience. They are constantly abusing Proserpine, who is introduced with all the trappings of Tartarean pomp into this performance, where there are no less than ninety-two dramatis personæ, among whom are the Virgin and God the Father. The story of Le Mystere du Chevalier qui donne sa Femme au Diable, played by ten persons in 1505, is of a dissipated knight reduced by his profligacy to distress and wickedness. In his misfortunes the devil appears, and proposes to make him richer than ever, if he will assign his wife, that the devil may have her in seven years. After some discussion the knight consents, his promise is written out, and he signs it with his blood. The seducer then stipulates that his victim shall deny. his God; the knight stoutly resists for a time, but in the end the devil gains his point, and emboldened by success ventures to propose that the knight shall deny the Virgin Mary. This, however, being a still greater sin, he refuses to commit it with the utmost indignity and vehemence, and the devil walks off baffled. At the end of seven years, the promise being due, the devil presents it to the knight, who, considering it a debt of honour, prepares to discharge it immediately. He orders his wife to follow him to a certain spot, but on their way she perceives a church, which after obtaining her husband's permission she enters, for the purpose of offering her devotion; while thus engaged, the Virgin Mary recollecting the knight's unsullied allegiance to her, assumes the semblance of his wife, and in that character joins him. The moment that they both appear before the devil, he perceives who he has to deal with, and upbraids the unconscious knight for attempting to deceive him. The knight protests his ignorance and astonishment, which the Virgin corroborates, by telling the devil that it was her own plan, for the rescue of two souls from his power, and she orders him to give up the knight's promise. He of course obeys so high an authority, and runs off in great terror. The Virgin exhorts the knight to better ronduct in future, restores his wife to him, end the piece concludes. In the reign of Francis I., 1541, the performance of a grand mystery of the Acts of the Apostles, was proclaimed with great solemnity, and acted at Paris for many successive days, before the nobility, clergy, and a large assemblage in the Hotel de Flandres. These plays written in French rhyme, by the brothers Greban, were printed in 2 vols. folio, black letter, under letters patent of the king to William Alabat, a merchant of Bourges. The dramatis persona, were a multitude of celestial, terrestial, and infernal personages, amounting altogether to four hundred and eighty-five characters. Though the scenes of these plays were chiefly scriptural, yet many were from apocryphal story, and the whole exhibition was a strange mixture of sacred and profane history. Bayle calls the work entitled the Mystere des Actes Apostres," a very rare and uncommon work." He obtained the loan of a copy from sir Hans Sloane in England, and largely describes the volume. It is, however, more curious than rare. From the public instruments prefixed to the work, and the circumstances related by Bayle, it is evident that there was much importance attached to these plays; but it cannot so well be conceived from perusing them, as from the remarkable ceremonial of the public proclamation for their performance, concerning which he says nothing, probably from the extreme rarity of the tract, he had not seen it. It ordained, that the proclamation of this play should be made by sound of trumpets, with the city officers and serjeants attending, and directed that the performance should take place "in the hall of the Passion, the accustomed place for rehearsals and repetitions of the Mysteries played in the said city of Paris; which place, being well hung with rich tapestry chairs and forms, is for the reception of all persons of honest and virtuous report, and of all qualities therein assisting, as well as a great number of citizens and merchants, and other persons, as well as clergy and laity, in the presence of the commissaries and officers of Justice appointed and deputed to hear the speeches of each personage; and these are to make report, according to the merit of their well doing, as in such case required, concerning which have a gra cious reception; and from day to day, every day, so to continue to do, until the perfection of the said Mystery." It is not necessary to trace these plays abroad; they continue to be represented there to the present hour. At Berlin, 1804 and 5, the grand sacred comedy of "David," in five acts, with battles and choruses, was performed by the comedians in the Na tional Theatre. Throughout March, April, and May, 1810, the same play was re presented at Vienna; and while the Congress was held therein 1815, it was again performed with the utmost possible splendour. The back of the stage, extending into the open air, gradually ascended to a distance sufficient to admit carriages and horses, and to allow the evolutions of at least five hundred Austrian soldiers, infantry and cavalry, who, habited in the characters of Jews and Philistines, carried muskets and carbines, defiled and deployed, charged with the bayonet, let off their fire-arms, and played artillery, to represent the battles described in the Book of Kings. The emperor Alexander of Russia, the king of Prussia, and other monarchs, with their ministers, and the representatives of different courts, at the Congress, attended these plays, which were exhibited at the great theatre (An der Wien) to crowded audiences, at the usual prices of admission. The first trace of theatrical representation in this country is recorded by Matthew Paris, who wrote about 1240, and relates, that Geoffrey, a learned Norman, master of the school of the abbey of Dunstable, composed the play of St. Catharine, which was acted by his scholars. Geoffrey's performance took place in the year 1110, and he borrowed copes from the sacrist of the neighbouring abbey of St. Albans, to dress his characters. Fitzstephen writing in 1174, says that, "London, for its theatrical exhibitions, has religious plays, either the representations of miracles wrought by holy confessors, or the sufferings of martyrs." Besides those of Coventry, there are MSS. of the Chester mysteries, ascribed to Ranulph Higden, compiler of the Polychronicon, and a Benedictine monk of that city, where they were performed at the expense of the in corporated trades, with a thousand days of pardon from the pope, and forty days of pardon from the bishop of Chester to all who attended the representation, which is supposed to have been first had in the vear 1328. |