The Abbot by Walter Scott (mobi reader .txt) 📕

The re-appearance of the dignified Chamberlain on the street of the village was eagerly hailed by the revellers, as a pledge that the play, or dramatic representation, which had been postponed owing to his absence, was now full surely to commence. Any thing like an approach to this most interesting of all amusements, was of recent origin in Scotland, and engaged public attention in proportion. All other sports were discontinued. The dance around the Maypole was arrested—the ring broken up and dispersed, while the dancers, each leading his partner by the hand, tripped, off to the silvan theatre. A truce was in like manner achieved betwixt a huge brown bear and certain mastiffs, who were tugging and pulling at his shaggy coat, under the mediation of the bear-ward and half a dozen butchers and yeomen, who, by dint of staving and tailing, as it was technically termed, separated the unfortunate animals, whose fury had for an hour past been their chief amusement. The itinerant minstrel found himself deserted by the audience he had collected, even in the most interesting passage of the romance which he recited, and just as he was sending about his boy, with bonnet in hand, to collect their oblations. He indignantly stopped short in the midst of Rosewal and Lilian, and, replacing his three-stringed fiddle, or rebeck, in its leathern case, followed the crowd, with no good-will, to the exhibition which had superseded his own. The juggler had ceased his exertions of emitting flame and smoke, and was content to respire in the manner of ordinary mortals, rather than to play gratuitously the part of a fiery dragon. In short, all other sports were suspended, so eagerly did the revellers throng towards the place of representation.

They would err greatly, who should regulate their ideas of this dramatic exhibition upon those derived from a modern theatre; for the rude shows of Thespis were far less different from those exhibited by Euripides on the stage of Athens, with all its magnificent decorations and pomp of dresses and of scenery. In the present case, there were no scenes, no stage, no machinery, no pit, box, and gallery, no box-lobby; and, what might in poor Scotland be some consolation for other negations, there was no taking of money at the door. As in the devices of the magnanimous Bottom, the actors had a greensward plot for a stage, and a hawthorn bush for a greenroom and tiring-house; the spectators being accommodated with seats on the artificial bank which had been raised around three-fourths of the playground, the remainder being left open for the entrance and exit of the performers. Here sate the uncritical audience, the Chamberlain in the centre, as the person highest in office, all alive to enjoyment and admiration, and all therefore dead to criticism.

The characters which appeared and disappeared before the amused and interested audience, were those which fill the earlier stage in all nations—old men, cheated by their wives and daughters, pillaged by their sons, and imposed on by their domestics, a braggadocia captain, a knavish pardoner or quaestionary, a country bumpkin and a wanton city dame. Amid all these, and more acceptable than almost the whole put together, was the all-licensed fool, the Gracioso of the Spanish drama, who, with his cap fashioned into the resemblance of a coxcomb, and his bauble, a truncheon terminated by a carved figure wearing a fool's cap, in his hand, went, came, and returned, mingling in every scene of the piece, and interrupting the business, without having any share himself in the action, and ever and anon transferring his gibes from the actors on the stage to the audience who sate around, prompt to applaud the whole.

The wit of the piece, which was not of the most polished kind, was chiefly directed against the superstitious practices of the Catholic religion; and the stage artillery had on this occasion been levelled by no less a person than Doctor Lundin, who had not only commanded the manager of the entertainment to select one of the numerous satires which had been written against the Papists, (several of which were cast in a dramatic form,) but had even, like the Prince of Denmark, caused them to insert, or according to his own phrase, to infuse here and there, a few pleasantries of his own penning, on the same inexhaustible subject, hoping thereby to mollify the rigour of the Lady of Lochleven towards pastimes of this description. He failed not to jog Roland's elbow, who was sitting in state behind him, and recommend to his particular attention those favourite passages. As for the page, to whom, the very idea of such an exhibition, simple as it was, was entirely new, he beheld it with the undiminished and ecstatic delight with which men of all ranks look for the first time on dramatic representation, and laughed, shouted, and clapped his hands as the performance proceeded. An incident at length took place, which effectually broke off his interest in the business of the scene.

One of the principal personages in the comic part of the drama was, as we have already said, a quaestionary or pardoner, one of those itinerants who hawked about from place to place relics, real or pretended, with which he excited the devotion at once, and the charity of the populace, and generally deceived both the one and the other. The hypocrisy, impudence, and profligacy of these clerical wanderers, had made them the subject of satire from the time of Chaucer down to that of Heywood. Their present representative failed not to follow the same line of humour, exhibiting pig's bones for relics, and boasting the virtues of small tin crosses, which had been shaken in the holy porringer at Loretto, and of cockleshells, which had been brought from the shrine of Saint James of Compostella, all which he disposed of to the devout Catholics at nearly as high a price as antiquaries are now willing to pay for baubles of similar intrinsic value. At length the pardoner pulled from his scrip a small phial of clear water, of which he vaunted the quality in the following verses:—