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Wisdom (play)

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Wisdom, or Mind, Will, and Understanding
A drawing and text from the Macro Manuscript version of Wisdom
Written byAnonymous
CharactersWisdom (dressed as Christ)

Lucifer
Anima, the Soul
Mind
Will
Understanding

The Five Wits
Date premieredca. 1460-1470
Original languageMiddle English
Genremorality play

Wisdom (also known as Mind, Will, and Understanding) is one of the earliest surviving medieval morality plays. Together with Mankind and The Castle of Perseverance, it forms a collection of early English moralities called "The Macro Plays". Wisdom enacts the struggle between good and evil; as an allegory, it depicts Christ (personified in the character of Wisdom) and Lucifer battling over the Soul of Man, with Christ and goodness ultimately victorious. Dating between 1460-1463, the play is preserved in its complete form in the Macro Manuscript, currently a part of the collection of the Folger Shakespeare Library (MS V.a. 354).[1] A manuscript fragment of the first 754 lines also belongs to the Bodleian Library (MS Digby 133).[2] Although the author of Wisdom remains anonymous, the manuscript was transcribed and signed by a monk named Thomas Hyngman. Some scholars have suggested that Hyngman also authored the play.

Synopsis

Unlike other early morality plays, the character signifying man is split into nine different characters: Anima (the soul of man), the three faculties of the soul (Mind, Will and Understanding), and her five senses (known as ‘’the Wits”). Despite boasting a large cast list, the only six speaking roles in the play are Anima, Wisdom, Lucifer, Mind, Will and Understanding. Although the manuscript does not contain scene demarcations, the play can be divided into four sections, based upon a theological schematic of transgression and redemption: innocence, temptation, sinful life, and repentance.[3] In the first part (Lines 1-324), Anima declares her love for Wisdom, the allegorical figure for Christ. The stage directions note that Anima is dressed in white, a symbol of her purity and position as the bride of Christ. The five Wits enter (dressed as virgins), and dance. Wisdom advises Anima and her three faculties (Will, Mind, Understanding) about how to live virtuously. In the second part (325-550), Lucifer tempts each of the three faculties – Will with lechery, Mind with pride, and Understanding with Perjury. In the third part (551-837), each faculty (having exchanged monkish, acetic robes for more fashionable and luxurious ones) devotes himself to sin and dances wildly with six followers. In the final part (838-1108), Wisdom returns to chastise the three faculties for falling into temptation. Anima, Will, Mind and Understanding repent, and the devils are chased from the stage. Recognizing that redemption requires more than her remorse, Anima asks for God’s mercy and grace. Wisdom grants both, before turning to the audience and ending the play with a sermon on avoiding sin and seeking grace.

History

Like Mankind, the Macro Manuscript version of Wisdom bears a Latin inscription by the monk Thomas Hyngman and the phrase (translated), “Oh book, if anyone shall perhaps ask to whom you belong, you will say, “I belong above everything to Hyngham, a monk.” [4] Similarities between this hand and the text of the play lead scholars to believe that Hyngman transcribed the play.[5] Close parallels between the Digby version and Macro version (including congruence of transcription errors).[6]

The particularities of the playtext’s dialect suggest that Wisdom dates between 1460 and 1470 (Davidson argues for a range between 1460 and 1463).[7] The language is an East Midland dialect, particularly common to Norfolk and Suffolk at the time of composition.[8] Although the play conventionally goes by the name Wisdom today, neither manuscript notes a title. Former owner Thomas Sharp referred to the play by the title "Mind, Will, and Understanding" (after the three major characters). The now common moniker “Wisdom” is shorthand for A Morality of Wisdom, who is Christ, pioneered in an 1882 publication of the plays by the philologist Frederick James Furnivall.[9]

Sources

Much of the play’s theological material directly quotes the Vulgate Bible, including selections from Song of Songs, Psalms, Proverbs, Lamentations, Malachi, Ecclesiastes, Matthew, Romans, Ephesians, and Colossians.[10] The characterization and costuming of Anima as the Bride of Christ come from passages of Henry Suso’s Horologium Sapientiae. Lucifer’s arguments to the three faculties in the temptation scene are mutations of 14th century mystic Walter Hilton’s writings in his Epistle on mixed life. At the play’s conclusion, sections of Anima’s repentance (particularly the language of Mind, Will and Understanding) come again from Hilton, in his major work The Scale of Perfection.[11]

Editions and Facsimiles

Several editions of Wisdom have been printed in the past century and a half, including:

  • Baker, D. C., J. L. Murphy, and L. B. Hall, Jr., eds. The Late Medieval Religious Plays of Bod¬leian MSS Digby 133 and E. Museo 160. Oxford: Oxford University Press, 1982.
  • Bevington, David, ed. The Macro Plays: A Facsimile Edition with Facing Transcription. New York: Johnson Reprint, 1972.
  • Coldewey, John, ed. Early English Drama: An Anthology. New York: Garland, 1993.
  • Eccles, Mark, ed. The Macro Plays. EETS o.s. 262. London: Oxford University Press, 1969.
  • Riggio, Milla Cozart, ed. The Play of Wisdom: Its Texts and Contexts. New York: AMS Press, 1998.
  • Walker, Greg, ed. Medieval Drama. Oxford: Blackwell, 2000.

Notes

  1. ^ Davidson, Visualizing the Moral Life
  2. ^ Furnivall, pp. x
  3. ^ Eccles, The Macro Plays
  4. ^ Eccles, pp. xxviii
  5. ^ Beadle, pp. 318
  6. ^ Rigby, pp. 6-18
  7. ^ Davidson, pp. 3
  8. ^ Eccles, pp. 30
  9. ^ Eccles, pp. xxvii
  10. ^ Smart, Some English and Latin Sources and Parallels for the Morality of Wisdom
  11. ^ Klausner, Two Moral Interludes

References

  • Baker, D. C., J. L. Murphy, and L. B. Hall, Jr., eds. The Late Medieval Religious Plays of Bod¬leian MSS Digby 133 and E. Museo 160. Oxford: Oxford University Press, 1982.
  • Beadle, Richard and Piper, A.J. eds. "Monk Thomas Hyngham’s hand in the Macro Manuscript", New Science out of Old Books: Studies in Manuscripts and Early Printed Books. Aldershot: Scolar Press, 1995, pp. 315–41.
  • Bevington, David, ed. The Macro Plays: A Facsimile Edition with Facing Transcription. New York: Johnson Reprint, 1972.
  • Coldewey, John, ed. Early English Drama: An Anthology. New York: Garland, 1993.
  • Davenport, William. Fifteenth-Century English Drama: The Early Moral Plays and Their Literary Relations. Boydell & Brewer, 1982.
  • Eccles, Mark, ed. The Macro Plays. EETS o.s. 262. London: Oxford University Press, 1969.
  • Furnivall, Frederick James and Pollard, Alfred William eds. The Macro Plays. For the Early English Text Society, 1904.
  • Gibson, Gail McMurray. The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages. University of Chicago Press, 1994.
  • Klausner, David N, ed. Two Moral Interludes: The Pride of Life and Wisdom. Michigan: Medieval Institute Publications, 2008.
  • Riggio, Milla Cozart, ed. The Play of Wisdom: Its Texts and Contexts. New York: AMS Press, 1998.
  • Smart, Walter. Some English and Latin Sources and Parallels for the Morality of Wisdom. 1912.
  • Walker, Greg, ed. Medieval Drama. Oxford: Blackwell, 2000.
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