d to gaze and meditate upon it could have their fill without disrupting the other business of the mass. This joyful celebration, which began to establish itself about 50 years later, served as an important counterpoint to the medieval obsession with the sinful state of fallen humanity; it was an opportunity for the "good Christian" to reflect upon the promises of Christ, not merely upon the consequences of human sin. The Mass, in Urban's words, should be a "glorious act of remembrance, which fills the minds of the faithful with joy at their salvation and mingles their tears with an outburst of reverend jubilation."
Medieval drama served as a religious outlet; and, in an age when most people were illiterate, took an important place alongside stained glass windows and statues in spreading the Christian message to the general public. For instance, the play depicting the birth of Christ includes a long monologue delivered by a learned man directly to the audience-- it is a sermon explaining the significance of Old Testament prophecies that point to the Nativity. The speaker ensures that the audience understands everything they need to know in order to appreciate more fully the significance of the events that the actors are about to portray. The actors then, become living icons, windows into the spiritual realm, which never seemed very far off to the medieval mind.
During the early part of the Corpus Christi period, the Corpus Christi plays were part of a larger celebration on the feast of Corpus Christi. The community leaders, including the religious authorities, the elected town officials, and the masters of the guild, assembled for a pre-dawn torchlight procession in honor of the Body of Christ-- a consecrated host was carried at the head of the procession. The play wagons would follow behind.
The York pageant was completely interwoven into society. Throughout the year, the elected officials -- known as the City Fathers -- used the York play as a way for the local government to regulate business. For instance, when the merchant guild imported leather, impinging on the tanners' livelihood, the merchants were ordered by the city officials to pay a fine; half of the fine went to the city, and the other half went to pay the tanners' expenses for mounting the next year's pageant. Similarly, if a guild defaulted on a play, caused delays or disorder in the procession, or if a clergyman or burgher failed to show up to take his part in the procession, fines for these infractions went to the next year's production.
In the York plays the past is a direct continuation of the present: Moses swears by the cross; Pilate calls his soldiers knights; everyone wears medieval garb. No attempt was made to hide this anachronism because nobody minded -- medieval people did not think of the world of the Bible as different from their own.
Because each play was produced by a guild, there was a competition among the guilds to produce the best play. The guilds were economic, social and often religious groups, tied together in that unique medieval way. Within the plays are obvious and more subtle mercantile messages. For instance, the play of the construction of Noah's ark was produced by the wainwrights, or shipbuilders; Noah was probably played by a well-known shipbuilder, employing his craft with talent on loan from God. In the play put on by the cloth dyers, Jesus is dressed in white, which one of the mockers calls the color of fools -- suggesting, in essence, the audience members are fools unless they pay to have their clothing dyed. The winesellers did the (now lost) Wedding Feast of Cana, the Bakers did the Last Supper, and the Chaundlers -- who made candles and chandeliers -- did the play with the Star of Bethlehem.
The Mercer's wagon for the play "Doomsday" included special effects -- a pulley-operated platform that Christ rides up and down from heaven; smoke for a gaping hell mouth, into which the sinners were thrown; miniature angels that seemed to run around the heavens in a circle; and of course, costumes, music, and a choir of voices.
Al