From Page to Performance: Essays in Early English Drama by John A. Alford

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By John A. Alford

This ebook is a suite of twenty-two essays by way of students within the box of Medieval Drama, commonly with regards to functionality either previous and current. Alford wrote one essay within the e-book.

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Additional resources for From Page to Performance: Essays in Early English Drama

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Page 29 Figure 1.  The north (extending to the west) is Europe, a part of the contemporary and immediate world, which to some extent reflects the observations of Page 30 Figure 2.  12 Page 31 Figure 3.  The latter is, of course, uncharted, and it was not known how far it might have extended. Recent research has given us a better idea of how the world map of Hereford and its analogues served as a guiding metanarrative to the imago mundi that governed the architectural program of the medieval Page 32 Figure 4.

It would appear likely that Shakespeare knew the medieval cycles from their performance at Coventry, where the mystery plays continued to be played until 1580.  Yet, even if we disregard the very probable dramatic origin of Hamlet's "out­herods Herod" and the point of reference for the meckanicals in A Midsummer Night's Dream, the influence of the popular street drama was far more important for its conceptual contributions than for any direct or even conscious applications that it might have occasioned.

Brunner (London: Darton, Longman, Todd, 1966), 288.  Clifford Howell (London: Burns and Oates, 1965), 95.  A full discussion of Amalarius's allegorization of the Mass, and its place in the development of medieval drama, will be found in Hardison, Christian Rite and Christian Drama in the Middle Ages, 35–79.  For a brief summary of Amalarius's proposals see Jungmann, Public Worship, 95–96.  See Jungmann, Public Worship, 96.  Simmons, EETS 71 (Oxford: Trübner, 1879), xix.  Jungmann, Public Worship, 103.

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