Part 12 (2/2)

At the other end of the Bridge was another tower, and within it an image of St. George, with a great number of boys representing angels. These sang an anthem, 'Give thanks, O England, to G.o.d for victory.' This is supposed to be preserved in the song 'Our King went forth to Normandy.'

On Cornhill there was erected a tent of crimson cloth ornamented with the King's arms. Within it was a company of 'prophets' in golden coats.

As the King approached they set loose a great number of small birds, which fluttered about while the 'prophets' sung 'Cantate Domino cantic.u.m novum'--'Sing unto the Lord a new song.'

In Cheapside the conduit was hung with green. Here sat the twelve Apostles and the twelve Kings, Martyrs and Confessors of England. They also sung a chant and made the conduit run with wine. This represented the reception of Abraham by Melchisedek.

The Cross of Chepe was built over by a high tower of wood covered all over with splendid coats of arms. There was a stage in front, on which a crowd of girls came with timbrels dancing and singing. Thus the maidens welcomed David when he returned from the slaughter of Goliath. And all about the building were crowds of boys, representing the Heavenly Host, who showered down coins resembling gold, and boughs of laurel, and sang 'Te Deum Laudamus.'

Lastly, there was another tower at the west end of Chepe. In each corner of this stood a girl, who out of a cup strewed golden leaves before the feet of the King. And there was a high canopy painted with blue and stars, and beneath a figure all gold, to represent the sun surrounded by angels singing and playing all kinds of musical instruments.

This witnessed, the King went on to St. Paul's to pay his devotions.

When you read this bald account of one of the greatest Pageants ever celebrated in the City, you must fill it up by imagining the long procession, every one in his place. Trumpeters, bowmen in leather jerkins, men-at-arms in s.h.i.+ning helmet and cuira.s.s, hors.e.m.e.n in full armour, knights, n.o.bles, heralds all in full panoply, banners and bannerets, the Bishop and all the clergy, the King and his retinue, the Lord Mayor and his four hundred followers. Imagine the blare of the trumpets, the singing of the chants, the roaring of the people, the crimson hangings all along the line of march at every window. There were no police to keep the line: you might see the burgesses running out of the taverns on their way with blackjacks of Malmsey to regale the gallant soldiers who had fought and won the victory. You would see the King bareheaded. Why was he bareheaded? Because he was so modest--this brave King. Because he would not let the people see his helmet dinted and misshapen with the signs and scars of hard battle in which he had played his part as well as any humble leather-jerkined bowman in his array. Your ancestors, these soldiers and these citizens: your forefathers. They knew, far better than you will ever know, how to marshal a gallant show. We have lost the art of making a Pageant. It remains with us--once a year--in the Lord Mayor's Show. But think of Henry's Riding into London compared with the Lord Mayor's Show!

48. PLAYS AND PAGEANTS.

PART III.

Between the Pageant and the Play stands the Masque, a form of entertainment which achieved its greatest splendour both in stage mounting and in the words and songs in the reigns of Elizabeth and James I. Nowhere was the Masque more carefully studied and more magnificently presented than in London. The scenic display which in the early theatre was so meagre was carried in the Masque to a height never surpa.s.sed until the splendid shows of the present day. Nor did the greatest poets disdain to write words for the Masque. The most beautiful of those which remain are to be found in Ben Jonson's works. Every great man's house had a hall which was used for the Masque. Bacon, who gives directions for building a house, orders that there must be a room built on purpose for these performances. Under it is to be another room for the actors to dress and for the 'properties'--i.e. the things requisite for the presentation of the Masque, such as scenery, the woods, fountains, rocks, palaces, &c.--that might be required. Let us show what a Masque was like by describing one of Ben Jonson's. It is called the Masque of Oberon, and was performed before Prince Henry, the eldest son of James I., who died in youth.

The scene presents a rock with trees beyond it and 'all the wildness that can be presented.' All is dark. Presently the moon rising shows a Satyr, one of the beings with whom the ancients peopled the forests and wild places. They were drawn with the feet and legs of goats, short horns on the head, and the body covered with thick hair. This Satyr lifts his head and calls his companions. There is no answer. He blows his cornet. Echo answers him. He blows again, and is again mocked by the Echo. A third time he blows, and other Satyrs come leaping and dancing upon the stage. Silenus, their leader, bids them prepare to see the young Prince Oberon.

The scene opens: the rocks and forests disappear: there is shown a glorious palace whose walls and gates are transparent. Before the gates lie asleep two 'Sylvans'--i.e. men of the woods. The Satyrs gather round these sleeping sentinels and wake them up with singing:

Buzz, quoth the blue fly: Hum, quoth the bee: Buzz and hum they cry And so do we.

In his ear, in his nose, Thus do you see? [They tickle them.]

He ate the dormouse Else it was he.

The Sylvans wake: they explain that it is yet too early for the gates to open. Meantime let them sing and dance to while away the time. One of them sings therefore. After the song they fall into an 'antick dance full of gesture and swift motion' and thus continue till the crowing of a c.o.c.k gives the signal for the whole palace to open. It is like a transformation scene at a pantomime. There is the palace with all its occupants--the 'whole nation of Fays' or Fairies. Some are playing instruments of music; some are singing: some are bearing lights: at the back of the stage sit the 'Knights masquers.' With them Oberon in his chariot. And then, drawn by two white bears, guarded by three Sylvans on each side, the chariot moves down the stage. Observe that to produce all these effects the stage must have been very deep. The song they sing is in praise of the King:

Melt earth to sea, sea flow to air, And air fly into fire, Whilst we in tunes to Arthur's chair Bear Oberon's desire: Than which there's nothing can be higher Save James to whom it flies: But he the wonder is of tongues and ears and eyes--

The Satyrs leap and dance again for joy at so splendid a sight.

Then Silenus speaks in praise of Prince Oberon, who is, of course, Prince Henry, the elder son of James, who died young. The flattery is no worse than was usual in Masques. Silenus says that the Prince--

Stays the time from turning old, And keeps the age up in a head of gold.

He makes it ever day and ever spring When he doth s.h.i.+ne, and quickens everything.

Then two Fays sing a song and all the Fays together dance, after which all together sing. Then Oberon and his knights dance. Another song follows. Then they all together dance 'measures, corantos, and galliards,' till Phosphorus the day star appears and calls them away--

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