Mystery Plays - The Two Prime Opponents - Analysis of Interlude -Riches and Poverty - Tom's Grand Qualities.
IN the preceding chapter I have given an abstract of the life of Tom O' the Dingle; I will now give an analysis of his interlude;first, however, a few words on interludes in general. It is difficult to say with anything like certainty what is the meaning of the word interlude. It may mean, as Warton supposes in his history of English Poetry, a short play performed between the courses of a banquet or festival; or it may mean the playing of something by two or more parties, the interchange of playing or acting which occurs when two or more people act. It was about the middle of the fifteenth century that dramatic pieces began in England to be called Interludes; for some time previous they had been styled Moralities; but the earliest name by which they were known was Mysteries. The first Mysteries composed in England were by one Ranald, or Ranulf, a monk of Chester, who flourished about 1322, whose verses are mentioned rather irreverently in one of the visions of Piers Plowman, who puts them in the same rank as the ballads about Robin Hood and Maid Marion, making Sloth say:
"I cannon perfitly my Paternoster as the priest it singeth, But I can rhymes of Robin Hood and Ranald of Chester."Long, however, before the time of this Ranald Mysteries had been composed and represented both in Italy and France. The Mysteries were very rude compositions, little more, as Warton says, than literal representations of portions of Scripture. They derived their name of Mysteries from being generally founded on the more mysterious parts of Holy Writ, for example the Incarnation, the Atonement, and the Resurrection. The Moralities displayed something more of art and invention than the Mysteries; in them virtues, vices and qualities were personified, and something like a plot was frequently to be discovered. They were termed Moralities because each had its moral, which was spoken at the end of the piece by a person called the Doctor. (7) Much that has been said about the moralities holds good with respect to the interludes.
Indeed, for some time dramatic pieces were called moralities and interludes indifferently. In both there is a mixture of allegory and reality. The latter interludes, however, display more of every-day life than was ever observable in the moralities; and more closely approximate to modern plays. Several writers of genius have written interludes, amongst whom are the English Skelton and the Scottish Lindsay, the latter of whom wrote eight pieces of that kind, the most celebrated of which is called "The Puir Man and the Pardoner." Both of these writers flourished about the same period, and made use of the interlude as a means of satirizing the vices of the popish clergy. In the time of Charles the First the interlude went much out of fashion in England; in fact, the play or regular drama had superseded it. In Wales, however, it continued to the beginning of the present century, when it yielded to the influence of Methodism. Of all Welsh interlude composers Twm O'r Nant or Tom of the Dingle was the most famous. Here follows the promised analysis of his "Riches and Poverty."The entire title of the interlude is to this effect. The two prime opponents Riches and Poverty. A brief exposition of their contrary effects on the world; with short and appropriate explanations of their quality and substance according to the rule of the four elements, Water, Fire, Earth, and Air.
First of all enter Fool, Sir Jemant Wamal, who in rather a foolish speech tells the audience that they are about to hear a piece composed by Tom the poet. Then appears Captain Riches, who makes a long speech about his influence in the world and the general contempt in which Poverty is held; he is, however, presently checked by the Fool, who tells him some home truths, and asks him, among other questions, whether Solomon did not say that it is not meet to despise a poor man, who conducts himself rationally. Then appears Howel Tightbelly, the miser, who in capital verse, with very considerable glee and exultation, gives an account of his manifold rascalities. Then comes his wife, Esther Steady, home from the market, between whom and her husband there is a pithy dialogue. Captain Riches and Captain Poverty then meet, without rancour, however, and have a long discourse about the providence of God, whose agents they own themselves to be. Enter then an old worthless scoundrel called Diogyn Trwstan, or Luckless Lazybones, who is upon the parish, and who, in a very entertaining account of his life, confesses that he was never good for anything, but was a liar and an idler from his infancy. Enter again the Miser along with poor Lowry, who asks the Miser for meal and other articles, but gets nothing but threatening language. There is then a very edifying dialogue between Mr Contemplation and Mr Truth, who, when they retire, are succeeded on the stage by the Miser and John the Tavern-keeper. The publican owes the Miser money, and begs that he will be merciful to him. The Miser, however, swears that he will be satisfied with nothing but bond and judgment on his effects.
The publican very humbly says that he will go to a friend of his in order to get the bond made out; almost instantly comes the Fool who reads an inventory of the publican's effects. The Miser then sings for very gladness, because everything in the world has hitherto gone well with him; turning round, however, what is his horror and astonishment to behold Mr Death, close by him. Death hauls the Miser away, and then appears the Fool to moralise and dismiss the audience.
