Strutt has the following description of the Mystery plays:—­“In the early dawn of literature, and when the sacred Mysteries were the only theatrical performances, what is now called the stage did then consist of three several platforms or stages, raised one above another; on the uppermost sat the Pater Caelestis, surrounded with his angels; on the second appeared the holy saints and glorified men; and the last and lowest were occupied by mere men who had not passed through this life to the regions of eternity.  On one side of this lowest platform was the resemblance of a dark pitchy cavern, from whence issued appearance of fire and flames; and when it was necessary the audience were treated with hideous yellings and noises, as imitations of the howlings and cries of the wretched souls tormented by the relentless demons.  From this yawning cave the devils themselves constantly ascended, to delight and instruct the spectators; to delight because they were usually the greatest jesters and buffoons that then appeared; and to instruct for that they treated the wretched mortals who were delivered to them with the utmost cruelty, warning thereby all men carefully to avoid the falling into the clutches of such hardened and relentless spirits.”

It is interesting to note that Hell was imitated by a whale’s open jaws, behind which a fire was lighted, in such a way, however, so as not to injure the “damned,” who had to pass into its gaping mouth.  The performer who impersonated God had not only his face but also the hair of his wig gilded.  Christ was dressed in a long sheep’s skin.  The Devil, or Vice (the Exodiarii and Emboliariae of the ancient Mimis), was easily recognisable by his horns and his tail, whilst his beard was of a bright red colour, to indicate the flames of the region in which he dwelt.  Judas also wore a wig of a fiery hue, and, after being hung, had sometimes to do the “cock crowing,” as some old accounts of the York Mysteries show.

It appears to have been customary for the Devil to appear before the audience with a cry of “Ho! ho! ho!” somewhat similar to the ejaculations of the Pantomime Clown in after years. (See Gammer Gurton’s Needle, Act II., Sc. 3, and “The Devil is an Ass,” by Ben Jonson, Act I., Sc. 1.) The following passage occurs in “Wily Beguiled,” 1606.  “Tush! feare not the dodge; I’ll rather put on my flashing red nose, and my flaming face, and come wrapped in a calfe’s skin, and cry ‘Ho! ho! ho!’” Again, “I’ll put me on my great carnation nose, and wrap me in a rousing calf’s-skin suit, and come like some hob-goblin, or some Devil ascended from the grisly pit of hell, and like a scarebabe make him take to his legs; I’ll play the Devil, I warrant ye.”

CHAPTER IX.

The Clown or Fool of the early English Drama—­Moralities—­The Interlude—­The rise of English Tragedy and Comedy—­“Dumb Shews” in the Old Plays—­Plays suppressed by Elizabeth—­A retrospect.