d 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