1. Word and Music in Medieval Cornish Drama 28 th Annual University of California Celtic Studies Conference 17 March 2006 Benjamin Bruch Harvard University

2. Medieval Cornish Drama Word and Music in Medieval Cornish Drama Cornish English Glasney College c. 1400

3. Medieval Cornish Drama Plen-an-guary Playing place

4. Medieval Cornish Drama Word and Music in Medieval Cornish Drama · Each day’s performance ends with music and dancing Ÿ Incidental music · Stage directions indicate hymns to be sung (in Latin or English) · Words imported from English º Names of voice parts : dyscant, conternot trebyl, faborden Ÿ Musical terminology · Indigenous (?) Cornish terms º pen can ( Beunans Meriasek ) º pen pusorn ( Resurrexio Domini ) º Names of musical instruments

5. : the “agreeable variety” of verse forms in the Ordinalia “occasionally rises, in emphatic passages, to what must be felt, even now, as a musical recitation; producing the belief that such stanzas were sung, or at least declaimed in operatic style, and perhaps accompanied by music” (1859, 2:447). · Edwin Norris Sung and Spoken Text Ÿ Was any of the dialogue in the dramas intended to be sung? · T.D. Crawford suggests that a number of metrically distinctive stanzas in Resurrexio Domini (lines 835-92) may represent “a scene set entirely to music” (1980-81, 175n46).

6. Sung and Spoken Text º This sequence includes some short-line stanzas º Sarum Missal : Seven boys sing the hymn Gloria Laus on Palm Sunday (Jenner, Longsworth, Bakere) Ÿ Textual and contextual evidence · Pueri Ebreorum sequence in Passio Christi º Pilate refers to “an fleghys vs ow cane” ( PC 432) · Norris (1859) and Crawford (1980-81) associate certain stanza types with musical performance Ÿ Formal and structural considerations º Unusual verse forms, such as the Type III (ababababCDDDC) stanzas in Passio Christi º Stanzas constructed of four-syllable lines · A sudden change in verse form may signal a shift from spoken to sung dialogue (Padel, Bennett)

7. Bewnans KeThe Life of St Ke · Life of St Ke (ff. 1-8) º Philip Bennett has suggested a parallel with musical interludes in medieval French drama Ÿ Surviving text can be divided into two sections (days?) · Arthurian story (ff. 9-20) · Repetition of words, phrases, and lines in adjacent stanzas º Particularly common in the Arthurian section of the play Ÿ National Library of Wales MS. 23,849D · Discovered in 1999 · Incomplete late 16 th century copy of a damaged early 16 th century exemplar · ‘English’ rhyming rule Ÿ Differs from other surviving medieval Cornish dramas · More complex verse forms · Sequences of speeches using similar or identical verse forms, sometimes with a repeated ‘refrain’

8. A UGELUS Ave pater Arthore lowena thys hag oner turba ge n tis futuræ a record the vonas flowr mer ew [t]he fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves A UGELUS Ave pater Arthore lowena thys hag oner turba ge n tis futuræ a record the vonas flowr mer ew [t]he fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves 7777477777774777 7777477777774777 Repetition in Bewnans Ke ABABcDDCABABcDDC Type III Bewnans Ke, stanza 222

9. 7777477777774777 M ORRYDUS Lowena thu m arluth mas lowena the n gwelha govr lowena the berha n ras lowena thys barth yth towr mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves Repetition in Bewnans Ke ABABcDDCABABcDDC Type III Bewnans Ke, stanza 223 Repetition in Bewnans Ke

10. 7777477777774777 C ADORUS Lowena ha lvne rowath theso war ver lavarow rag bos in yth elonoyth ny ve genys the barow mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves ABABcDDCABABcDDC Type III Bewnans Ke, stanza 224 Repetition in Bewnans Ke

11. 7777477777774777 C ADORUS Lowena ha lvne rowath theso war ver lavarow rag bos in yth elonoyth ny ve genys the barow mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves ABABcDDCABABcDDC Type III Bewnans Ke, stanza 224 Repetition in Bewnans Ke C ADORUS Lowena ha lvne rowath theso war ver lavarow rag bos in yth elonoyth ny ve genys the barow mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves M ORRYDUS Lowena thu m arluth mas lowena the n gwelha govr lowena the berha n ras lowena thys barth yth towr mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves Bewnans Ke, stanza 223 Bewnans Ke, stanza 222 A UGELUS Ave pater Arthore lowena thys hag oner turba ge n tis futuræ a record the vonas flowr mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves A UGELUS Ave pater Arthore lowena thys hag oner turba ge n tis futuræ a record the vonas flowr mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves

12. A UGELUS Ave pater Arthore lowena thys hag oner turba ge n tis futuræ a record the vonas flowr mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves M ORRYDUS Lowena thu m arluth mas lowena the n gwelha govr lowena the berha n ras lowena thys barth yth towr mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves C ADORUS Lowena ha lvne rowath theso war ver lavarow rag bos in yth elonoyth ny ve genys the barow mer ew the fves the va n nath hath ryelder a ra the gorf in pelder nyth ankevyr byttyth brves Bewnans Ke, stanza 222 Bewnans Ke, stanza 223 Bewnans Ke, stanza 224 7777477777774777 ABABcDDCABABcDDC Type III Repetition in Bewnans Ke

13. 7777444777774447 7777444777774447 7777444777774447 S EPTIMUS L EGATUS Lowena theugh a vyghterne hag onors drys an tasow the yskera n s a dres spern mara meryth in fasow serta n heb mar a pes syrrys hath voth terrys nyth wortesa gwyls na whar S EPTIMUS L EGATUS Lowena theugh a vyghterne hag onors drys an tasow the yskera n s a dres spern mara meryth in fasow serta n heb mar a pes syrrys hath voth terrys nyth wortesa gwyls na whar ABABcddCABABcddC Type IIId Bewnans Ke, stanza 264 Stanzas 256-70

14. 7777444777774447 O CTAVUS L EGATUS Lowena thys myghtern stowt in vhelder in the se pob ath wormol ny n ges dowt hedre vo bys in e le ha suer heb mar a pes syrrys hath voth terrys nyth wortesa gwyls na whar ABABcddCABABcddC Type IIId Bewnans Ke, stanza 265 Stanzas 256-70

15. O CTAVUS L EGATUS Lowena thys myghtern stowt in vhelder in the se pob ath wormol ny n ges dowt hedre vo bys in e le ha suer heb mar a pes syrrys hath voth terrys nyth wortesa gwyls na whar Bewnans Ke, stanza 265 O CTAVUS L EGATUS Lowena thys myghtern stowt in vhelder in the se pob ath wormol ny n ges dowt hedre vo bys in e le ha suer heb mar a pes syrrys hath voth terrys nyth wortesa gwyls na whar S EPTIMUS L EGATUS Lowena theugh a vyghterne hag onors drys an tasow the yskera n s a dres spern mara meryth in fasow serta n heb mar a pes syrrys hath voth terrys nyth wortesa gwyls na whar Bewnans Ke, stanza 264 7777444777774447 ABABcddCABABcddC Type IIId Stanzas 256-70

16. ABABddcC ABABcddC ABABddC Stanzas 256-70Overall Structure · Stanza 258: King Arthur ABABcddC Ÿ Stanza 256: First Legate Ÿ Stanza 257: Second LegateABABcddC ababcdedecababcdedec Ÿ Stanza 259: Third Legate Ÿ Stanza 260: Fourth Legate Ÿ Stanza 261: Fifth Legate Ÿ Stanza 262: Sixth LegateABABcddC · Stanza 263: King Arthurababcdedecababcdedec ABABcddC Ÿ Stanza 264: Seventh Legate Ÿ Stanza 265: Eighth Legate Ÿ Stanza 266: Ninth Legate Ÿ Stanza 267: Tenth Legate Ÿ Stanza 268: Eleventh Legate Ÿ Stanza 269: Twelfth LegateABABcddC · Stanza 270: King Arthur

17. 77777744477777774447 E XCERCES R EX I TURIORUM, S ECUNDUS R EX Lowena thys ser Lucy ow arluth emp er or worthy ny re deth thys ga n s an ger the sogys hath wostoyth on byth lowa n eys the golan ath yskar na berth awher arluth worthy me Excerces ew gverror fers ha myghter n in Inury E XCERCES R EX I TURIORUM, S ECUNDUS R EX Lowena thys ser Lucy ow arluth emp er or worthy ny re deth thys ga n s an ger the sogys hath wostoyth on byth lowa n eys the golan ath yskar na berth awher arluth worthy me Excerces ew gverror fers ha myghter n in Inury 77777744477777774447 Stanzas 338-52 AABCCBdeeDAABCCBdeeD Type III.10e Bewnans Ke, stanza 340

18. 77777744477777774447 A LPHATINA R EX H IJSPANIE, T ERTIUS R EX Hail thewhy ha lowena ny re dueth theugh thu m ena the wostoyth a n gvlasow pel Arthor rag e the venya ef a verew ky n tremena ky n fe vyth mar ver e nyel ny scap ru m pen ea tristyough thy n me Alphaty n myghter n Spain an deg the sen AABCCBdeeDAABCCBdeeD Type III.10e Bewnans Ke, stanza 341 Stanzas 338-52

19. 77777744477777774447 M ICYPPA R EX B ABILONIÆ, Q UARTUS R EX Lowena thu m arluth mas ny re dueth a lyas gwlas pa n glowsy n the vos serrys genegy rag sy n gy cas pe n the yskar re n ow thas in ol hast a vith terrys der vras colan me Micyppa ew gwerryor da ha myghter n in Babylon AABAABcddCAABAABcddC Type IIIA.10d Bewnans Ke, stanza 342 Stanzas 338-52

20. 77777744477777774447 M ICYPPA R EX B ABILONIÆ, Q UARTUS R EX Lowena thu m arluth mas ny re dueth a lyas gwlas pa n glowsy n the vos serrys genegy rag sy n gy cas pe n the yskar re n ow thas in ol hast a vith terrys der vras colan me Micyppa ew gwerryor da ha myghter n in Babylon AABAABcddCAABAABcddC Type IIIA.10d Bewnans Ke, stanza 342 M ICYPPA R EX B ABILONIÆ, Q UARTUS R EX Lowena thu m arluth mas ny re dueth a lyas gwlas pa n glowsy n the vos serrys genegy rag sy n gy cas pe n the yskar re n ow thas in ol hast a vith terrys der vras colan me Micyppa ew gwerryor da ha myghter n in Babylon Stanzas 338-52

21. A LPHATINA R EX H IJSPANIE, T ERTIUS R EX Hail thewhy ha lowena ny re dueth theugh thu m ena the wostoyth a n gvlasow pel Arthor rag e the venya ef a verew ky n tremena ky n fe vyth mar ver e nyel ny scap ru m pen ea tristyough thy n me Alphaty n myghter n Spain an deg the sen A LPHATINA R EX H IJSPANIE, T ERTIUS R EX Hail thewhy ha lowena ny re dueth theugh thu m ena the wostoyth a n gvlasow pel Arthor rag e the venya ef a verew ky n tremena ky n fe vyth mar ver e nyel ny scap ru m pen ea tristyough thy n me Alphaty n myghter n Spain an deg the sen 77777744477777774447 AABCCBdeeDAABCCBdeeD Type III.10e Bewnans Ke, stanza 341 Stanzas 338-52

22. E XCERCES R EX I TURIORUM, S ECUNDUS R EX Lowena thys ser Lucy ow arluth emp er or worthy ny re deth thys ga n s an ger the sogys hath wostoyth on byth lowa n eys the golan ath yskar na berth awher arluth worthy me Excerces ew gverror fers ha myghter n in Inury 77777744477777774447 77777744477777774447 AABCCBdeeDAABCCBdeeD Type III.10e Bewnans Ke, stanza 340 E XCERCES R EX I TURIORUM, S ECUNDUS R EX Lowena thys ser Lucy ow arluth emp er or worthy ny re deth thys ga n s an ger the sogys hath wostoyth on byth lowa n eys the golan ath yskar na berth awher arluth worthy me Excerces ew gverror fers ha myghter n in Inury Stanzas 338-52

23. 77777744477777774447 M ICYPPA R EX B ABILONIÆ, Q UARTUS R EX Lowena thu m arluth mas ny re dueth a lyas gwlas pa n glowsy n the vos serrys genegy rag sy n gy cas pe n the yskar re n ow thas in ol hast a vith terrys der vras colan me Micyppa ew gwerryor da ha myghter n in Babylon AABAABcddCAABAABcddC Type IIIA.10d Bewnans Ke, stanza 342 Stanzas 338-52

24. AABCCBdeeD Stanzas 256-70Overall Structure · Stanza 258: Emperor AABCCBdeeD Ÿ Stanza 256: First King Ÿ Stanza 257: Second King AABCCBdeeD Ÿ Stanza 259: Third King Ÿ Stanza 260: Fourth King Ÿ Stanza 261: Fifth King Ÿ Stanza 262: Sixth KingAABCCBdeeD · Stanza 263: EmperorAABCCCB AABCCBdeeD Ÿ Stanza 264: Seventh King Ÿ Stanza 265: First Duke Ÿ Stanza 266: Second Duke Ÿ Stanza 267: Third Duke Ÿ Stanza 268: Fourth Duke Ÿ Stanza 269: Fifth Duke · Stanza 270: Emperor Stanzas 338-52

25. Conclusions · Music to accompany dancing after the play Ÿ Both vocal and instrumental music played a role in medieval Cornish drama · Content Ÿ Some Cornish dialogue may have been sung rather than spoken · Hymns sung (in Latin or English) as part of performance · Repetition Ÿ Repetitive scenes in Bewnans Ke may have been sung to music · Context · Form — Pueri sequence in Passio Christi, derived from hymn — speeches that describe characters as singing — some stanza types may be associated with music · Structure— speeches grouped in larger patterns that suggest a musical form — ‘refrains’ and textual parallels used to link adjacent stanzas in Bewnans Ke · Musical terminology appears in the dialogue

26. Word and Music in Medieval Cornish Drama 28 th Annual University of California Celtic Studies Conference 17 March 2006 Benjamin Bruch Harvard University