"And the children after her," added the other sister, incautiously aloud.

There was now no doubt about the matter. The old man in his blue cloak stood for a few moments politely disputing the question of precedence with his handsome son-in-law. Then the Captain bowed and pa.s.sed in, and the old man followed him.

By the time that the service was ended everybody knew of the happy peacemaking, and was glad. One old friend after another came up with blessings and good wishes. This was a proper Christmas, indeed, they said. There was a general rejoicing.

But only the grandfather and his children knew that it was hatched from "The Peace Egg."

A CHRISTMAS MUMMING PLAY.

A CHRISTMAS MUMMING PLAY.

INTRODUCTION.

Since a little story of mine called "The Peace Egg" appeared in _Aunt Judy's Magazine_, I have again and again been asked where the Mumming Play could be found which gave its name to my tale, and if real children could act it, as did the fancy children of my story.

As it stands, this old Christmas Mumming Play (which seems to have borrowed the name of an Easter Entertainment or Pasque Egg) is not fit for domestic performance; and though probably there are few nurseries in those parts of England where "mumming" and the sword-dance still linger, in which the children do not play some version of St. George's exploits, a little of the dialogue goes a long way, and the mummery (which must almost be seen to be imitated) is the chief matter.

In fact, the mummery _is_ the chief matter--which is what makes the play so attractive to children, and, it may be added, so suitable for their performance. In its rudeness, its simplicity, its fancy dressing, the rapid action of the plot, and last, but not least, its _bludginess_--that quality which made the history of Goliath so dear to the youngest of Helen's Babies!--it is adapted for nursery amus.e.m.e.nt, as the Drama of Punch and Judy is, and for similar reasons.

For some little time past I have purposed to try and blend the various versions of "Peace Egg" into one Mummery for the nursery, with as little change of the old rhymes as might be. I have been again urged to do so this Christmas, and though I have not been able to give so much time or research to it as I should have liked, I have thought it better to do it without further delay, even if somewhat imperfectly.

To shuffle the characters and vary the text is nothing new in the history of these "Mock Plays," as they were sometimes called.

They are probably of very ancient origin--"Pagan, I regret to say," as Mr. Pecksniff observed in reference to the sirens--and go back to "the heathen custom of going about on the Kalends of January in disguises, as wild beasts and cattle, the s.e.xes changing apparel," (There is a relic of this last unseemly custom still in "The Old Tup" and "The Old Horse"; when these are performed by both girls and boys, the latter wear skirts and bonnets, the former hats and great-coats; this is also the case in Scotland where the boys and girls go round at Hogmanay.)

In the 12th century the clergy introduced miracle plays and Scripture histories to rival the performances of the strolling players, which had become very gross. They became as popular as beneficial, and London was famous for them. Different places, and even trade-guilds and schools, had their differing "mysteries."

Secular plays continued, and the two seem occasionally to have got mixed. Into one of the oldest of old plays, "St. George and the Dragon," the Crusaders and Pilgrims introduced the Eastern characters who still remain there. This is the foundation of "The Peace Egg."

About the middle of the 15th century, plays, which, not quite religious, still witnessed to the effect of the religious plays in raising the standard of public taste, appeared under the name of "Morals," or "Moralities."

Christmas plays, masques, pageants, and the like were largely patronized by the Tudor sovereigns, and the fashion set by the Court was followed in the country. Queen Elizabeth was not only devoted to the drama, and herself performed, but she was very critical and exacting; and the high demand which she did so much to stimulate, was followed by such supply as was given by the surpa.s.sing dramatic genius of the Elizabethan age of literature. Later, Ben Jonson and Inigo Jones combined to produce the Court masks, one of which,--the well-known "Mask of Christmas," had for chief characters, Christmas and his children, Misrule, Carol, Mince Pie, Gambol, Post and Pair, New Year's Gift, Mumming, Wa.s.sel, Offering, and Baby's Cake. In the 17th century the Christmas Mummeries of the Inns of Court were conducted with great magnificence and at large cost.

All such entertainments were severely suppressed during the Commonwealth, at which time the words "Welcome, or not welcome, I am come," were introduced into Father Christmas's part.

At one time the Jester of the piece (he is sometimes called the Jester, and sometimes the Fool, or the Old Fool) used to wear a calf's hide. Robin Goodfellow says, "I'll go put on my devilish robes--I mean my Christmas calf's-skin suit--and then walk to the woods." "I'll put me on my great carnation nose, and wrap me in a rousing calf-skin suit, and come like some hobgoblin." And a character of the 18th century "clears the way" with--

"My name is Captain Calftail, Calftail-- And on my back it is plain to be seen, Although I am simple and wear a fool's cap, I am dearly beloved of a queen--"

which looks as if t.i.tania had found her way into that mummery!

"The Hobby Horse's" costume was a horse's hide, real or imitated. I have no copy of a Christmas Play in which the Hobby Horse appears. In the north of England, "The Old Horse" and "The Old Tup" are the respective heroes of their own peculiar mummeries, generally performed by a younger, or perhaps a rougher, set of lads than those who play the more elegant mysteries of St. George. The boy who acts "Old Tup"

has a ram's head impaled upon a short pole, which he grasps and uses as a sort of wooden leg in front of him. He needs some extra support, his back being bent as If for leap-frog, and covered with an old rug (in days when "meat" was cheaper it was probably a hide). The hollow sound of his peg-leg upon the "flags" of the stone pa.s.sages and kitchen floor, and the yearly test of courage supplied by the rude familiarities of his gruesome head as he charged and dispersed maids and children, amid shrieks and laughter, are probably familiar memories of all Yorkshire, Lancashire, and Derbyshire childhoods. I do not know if the Old Horse and the Old Tup belong to other parts of the British Isles. It is a rude and somewhat vulgar performance, especially if undertaken by older revellers, when the men wear skirts and bonnets, and the women don great-coats and hats--the Fool, the Doctor, and a darker character with a besom, are often of the party, but the Knights of Christendom and the Eastern Potentates take no share in these proceedings, which are oftenest and most inoffensively performed by little boys not yet promoted to be "mummers." It is, however, essential that one of them should have a good voice, true and tuneful enough to sing a long ballad, and lead the chorus.

In the scale of contributions to the numerous itinerant Christmas Boxes of Christmas week--such as the Ringers, the Waits, the Bra.s.s Band, the Hand-bells, the Mummers (Peace Egg), the Superior Mummers, who do more intricate sword-play (and in the North Riding are called Morris Dancers), &c. &c., the Old Tup stands low down on the list. I never heard the Rhymes of the Old Horse; they cannot be the same.

These diversions are very strictly localized and handed on by word of mouth.

Of the best version of "Peace Egg" which I have seen performed, I have as yet quite vainly endeavoured to get any part transcribed. It is oral tradition. It is practised for some weeks beforehand, and the costumes, including wonderful head-dresses about the size of the plumed bonnet of a Highlander in full-dress, are carefully preserved from year to year. These paste-board erections are covered with flowers, feathers, bugles, and coloured streamers. The dresses are of coloured calico, with ribbons everywhere; "points" to the breeches and hose, shoulder-knots and sashes.

But, as a rough rule, it is one of the conveniences of mumming play, that the finery may be according to the taste and the resources of the company.

The swords are of steel, and those I have seen are short. In some places I believe rapiers are used. I am very sorry to be unable to give proper directions for the sword-play, which is so pretty. I have only one version in which such directions are given. I have copied the "Grand Sword Dance" in its proper place for the benefit of those who can interpret it. It is not easy to explain in writing even so much of it as I know. Each combat consists of the same number of cuts, to the best of my remembrance, and the "shoulder cuts" (which look very like two persons sharpening two knives as close as possible to each other's nose!) are in double time, twice as quick as the others. The stage directions are as follows:--

A. and B. fight

Cut I ... ... Crossing each other.

(They change places, striking as they pa.s.s.)

Cut 2 ... ... " " back.

Cut 3 ... ... " " other.

Cut 4 ... ... " " back.

Four shoulder cuts.

A. loses his sword and falls.

But I do not think the version from which this is an extract is at all an elaborate one. There ought to be a "Triumph," with an archway of swords, in the style of Sir Roger de Coverley. After the pa.s.sing and repa.s.sing strokes, there is usually much more hand-to-hand fighting, then four shoulder cuts, and some are aimed high and some down among their ankles, in a way which would probably be quite clear to any one trained in broadsword exercise.

The following Christmas Mumming Play is compiled from five versions--the "Peace Egg," the "Wa.s.sail Cup," "Alexander the Great,"

"A Mock Play," and the "Silverton Mummer's Play" (Devon), which has been lent to me in ma.n.u.script.

The Mumming Chorus, "And a mumming we will go," &c., is not in any one of these versions, but I never saw mumming without it.

The Silverton version is an extreme example of the continuous development of these unwritten dramas. Generation after generation, the most incongruous characters have been added. In some cases this is a very striking testimony to the strength of rural sympathy with the great deeds and heroes of the time, as well as to native talent for dramatic composition.

Wellington and Wolfe almost eclipsed St. George in some parts of England, and the sea Heroes are naturally popular in Devonshire. The death of Nelson in the Silverton play has fine dramatic touches.

Though he "has but one arm and a good one too," he essays to fight--whether Tippo Saib or St. George is not made clear. He falls, and St. George calls for the Doctor in the usual words. The Doctor ends his peculiar harangue with: "Britons! our Nelson is dead." To which a voice, which seems to play the part of Greek chorus, responds--"But he is not with the dead, but in the arms of the Living G.o.d!" Then, enter Collingwood--

"_Collingwood_--Here comes I, bold Collingwood, Who fought the French and boldly stood; And now the life of that bold Briton's gone, I'll put the crown of victory on"--

with which--"he takes the crown off Nelson's head and puts it on his own."

I have, however, confined myself in "The Peace Egg" to those characters which have the warrant of considerable antiquity, and their number is not small. They can easily be reduced by cutting out one or two; or some of the minor characters could play more than one part, by making real exits and changing the dress, instead of the conventional exit into the background of the group.

Some of these minor characters are not the least charming. The fair Sabra (who is often a mute) should be the youngest and prettiest little maid that can toddle through her part, and no old family brocade can be too gorgeous for her. The Pretty Page is another part for a "very little one," and his velvets and laces should become him.

They contrast delightfully with Dame Dolly and Little Man Jack, and might, if needful, be played by the same performers.

I have cut out everything that could possibly offend, except the line--"Take him and give him to the flies." It betrays an experience of Asiatic battlefields so terribly real, that I was unwilling to abolish this unconscious witness to the influence of Pilgrims and Crusaders on the Peace Egg. It is easily omitted.

I have dismissed the Lord of Flies, Beelzebub, and (with some reluctance) "Little Devil Doubt" and his besom. I had a mind to have retained him as "The Demon of Doubt," for he plays in far higher dramas. His besom also seems to come from the East, where a figure "sweeping everything out" with a broom is the first vision produced in the crystal or liquid in the palm of a medium by the magicians of Egypt.