THE PASSION PLAY AND INTERLUDES AT NEW ROMNEY. IN many Kentish parishes, the name "Pleystole" or "Playstool" still clings to a piece of land, on which, as we believe, the Passion Play, or Miracle-plays, were performed in days of old. During the Middle Ages, when few could read, much instruction was conveyed, respecting the historical facts of the Bible, by means of dramatic representations. Sometimes a dumb-show of puppets; sometimes a scene which we should call a tableau-vivant; sometimes a combination which might be described as a Marionette Exhibition; sometimes other varieties of scenic representations were exhibited upon a platform, or scaffold. This platform might be mounted on wheels, and then it was dragged through a town, from one street to another. Such shows were called Pageants. New Romney, and other parishes in this district, indulged more ambitious aims. Here, Interludes, or Dramatic Representations, were regularly acted, wherein each part was taken by a man in appropriate costume. Such Scriptural Dramas, when represented in a city like Chester, or in a rich town like Coventry, comprehended an epitome of the world's religious History, from the Creation to the Day of Judgment. In Chester, twenty-four distinct dramas were represented, during three days, from Whit Monday to Whit Wednesday. Each drama was performed by a separate company of actors, provided by one of the Trade Guilds of the city; or by two or three Guilds in combination. At Coventry, no less than forty-two separate dramas were represented annually at the Corpus Christi Festival. At Wakefield, or Woodkirk, another series of thirty-two such Miracle-Plays, or Mysteries, was used. At Romney, no doubt, limited population and limited funds prevented any such elaborate and simultaneous representation of scenes extending over the whole period of Scripture History. The only specific names of dramas acted here, which have come down to us, are the "Interlude of Our Lord's Passion," and the "Play of the Resurrection." In 1456, John Craye and Thomas a' Nasshe, wardens of the play of the Resurrection, brought an action for debt and damages against John Lylye, and they recovered 4s.* In 1463, the Jurats of Romney, out of their common chest, paid to Agnes Ford 6s. 8d. for the play of the Interlude of our Lord's Passion.† Probably a similar kind of spectacle was given, in 1422-4, when the men of Lydd "came with their May and ours." We have no account of this show, except that it was acted by players. In 1432, the Jurats of New Romney paid for two gallons of wine, given " to the players when they shewed their May."‡ Allied to these dramatic representations, although of a different character, was the annual Festival of the BoyBishop, celebrated on the day of St. Nicholas, December 6th, throughout the kingdom. As New Romney Church was dedicated to St. Nicholas, this annual farce may have been celebrated with greater honour here than elsewhere. The Boy-Bishop, and his attendants, proceeded from New Romney Church to the neighbouring town of Lydd, where they were entertained at the expense of the community. As much as four, five, or six shillings, were at different times expended upon their refreshment there. The town of New Romney expended 3s. 4d. at Garrarde's inn, when the Lord of Misrule of Old Romney came to the town in 1525. The representation of such Miracle-Plays or Interludes as those of our Lord's Passion, or of the Resurrection, required considerable organisation. Accordingly, "Wardens of the Play" were appointed. In 1456, there were two *Historical MSS. Commission, Sixth Report, p. 5416. Ibid., Fifth Report, p. 5406, 541b. Wardens, who sued a defaulter for debt. Their names were John Craye and Thomas a' Nasshe. At a later period, however, we hear of no less than five Wardens. On the 14th December, 1517, the Jurats and Commons chose Ric. Stuppeny, Christopher Hensfield, Robert Paris, John Bunting, and William Bedell, as Wardens, in order that the town might have the play of Christ's Passion, as from olden time they were wont to have it. To such plays there was, at that period, opposition in high quarters. Consequently, on the 26th of May, 1518, the Lord Warden of the five ports sent, to the Barons of New Romney, a mandate that they ought not to play the play of the Passion of Christ, until they have had the king's leave.* Nevertheless, such representations were continued here, during many years. At so late a period as the tenth year of Queen Elizabeth's reign, some of these plays were being prepared for performance.† Wardens being chosen, they, no doubt, organized the players. Local brotherhoods or fraternities seem generally to have furnished the actors. At Canterbury, according to Mr. Brent's account, the Corpus Christi Brotherhood, otherwise called the Fraternity of Jesu's Mass, seems to have furnished the players, at the joint cost of all the crafts and mysteries in the city. Coventry and Chester had a great number of trade fraternities, or guilds, which sufficed to supply actors for all their plays. Here, at Romney, there were six fraternities connected with the church of St. Nicholas, which, although not nominally trade fraternities, no doubt furnished some or all of the players. They were called the Fraternities of the Holy Cross, of St. Stephen, of St. John Baptist, of St. Edmund, of St. Katherine, and of St. George. In connection with the latter, the Guild or Fraternity of St. George, there may have been especial pageants or plays. In 1480, there was some great celebration here, when an image of St. George was put up.‡ On that occasion, the men of Lydd came over to join in the cere mony, and were entertained at the expense of the town of Romney. We know that throughout Kent, even at the present period, the drama of St. George is roughly enacted at our doors, during Christmas-tide, by seven men, who personate St. George, the dragon, Father Christmas, the Doctor, the King of Egypt, a Turkish Knight, and the Giant Turpin. Fraternities, of Holy Cross and of Holy Trinity, were connected with St. Laurence Church here; and there was a Fraternity of St. Mary, in St. Martin's parish, in Romney. Thus, there would seem to have been an abundant source upon which to draw for players. The Wardens of the Play were, no doubt, assisted by some of the chaplains, who said mass in the three churches and two chapels of the town. We know that, in 1489-90, one chaplain was paid for going to Lydd to see a play, which was to be reproduced at Romney. In 1496-7, money was paid to Thomas Penystone and Thomas Gammel, chaplains, for the debt due to them on the play; and we cannot doubt that the chaplains had a great deal to do with the details and organization of the representation. Dresses, and all needful paraphernalia, were obtained and preserved by the Wardens of the Play. Thus, in 1490-1, the Jurats paid 20s. to the Wardens of the Play for the loan of vestments. Similarly, in 1502-3 the Jurats delivered to Warden of this town for the play, in the way of loan, 20s. 6d. During the same year, they paid 3s. 4d. for the carriage from London of gear for the play. In 1504-5 the Jurats paid 28s. 3d. to Thomas Lambard, for the old debt due to him by the town for the play. While in 1517-18, the larger sum of £3 18s. 5d. was paid, for the expenses of the Romney players, as set forth in the account of Christopher Hensfeld. Eight years later we find this entry: "Paid to Mores whenne he went to Londone to Master Gybsone with the bill of arreyment for the play etc., 8s."§ Whether this relates to a play to be acted, or a plea to be sued out, is not quite clear. Such entries as the following, *Hist. MSS. Comm., Fifth Report, p. 548. Ibid., Fifth Report, p. 5496. Ibid., p. 5496. § Ibid., p. 551a. however, are beyond doubt: "1503-4, Paid to Mr Wodar for hay on the occasion of the play 124," and "for wine delivered at the play 7." "1513-14, Paid Hy Holle, Jos. Hakkett, Christopher Hensfeld, and John Buntyng, as a reward for their trouble and expenses upon the play 13s 4a.” The book, or manuscript copy, of the play, is not mentioned, as such, until June 1516. Then it is recorded that "Le Playboke" was delivered to Henry Robyn to keep, for the use of the town. In the year following, it was delivered "from the keeping of Henry Robyn into the hands of Robert May, Common Clerk, safely and securely to be kept to the use and behoof of the said town."* Further, it is recorded that on the 6th of July, 1517, Richard Bursell, junior, sent William Bukherst to obtain the Playbook+ from Robert May, who delivered it into his custody. In 1568, each player was required to bind himself, under a penalty of 40s., that he would persevere in performing the play, or else he was to surrender his part. Although no playbook, nor any parts, had previously been mentioned under those names, there had been similar entries respecting certain manuscripts, which were probably equivalent to the playbook cut up into separate "parts." In 1498 (13 Hen. VII) it was enacted "that the criers of the banns of the play of Romene (commons of that town), *Hist. MSS. Comm., Fifth Report, p. 552b. †The Play Book is enrolled among the "Records " of the town in the following list, made in the reign of Queen Elizabeth, and inscribed in the "Book of Notte:" Ffyrst the Charter of the towne. Thexemplificacion of the recorde in theschequir for our marshe. The leasse of our marshe. The leasse from the busshope of Can- The booke of Nott [given by Thomas VI. books of Statutes. The Indenture of the Contribucion bytwene Lydd and us. An olde booke of the Chamberlyns accompt where it apperyth that our marshe hath ever byn to the towne. The brodhell booke. iij Courte books. Th'olde customall in french. The booke of th'allecion. A payer of balance & weights of |