John Bale’s Adaptation of Parish- and Civic-Drama’s Playing Practices

Abstract

In his biblical-play trilogy—God’s Promises, Johan Baptystes Preachynge, and The Temptation of Our Lord—John Bale figures baptism as a livery which signifies incorporation into the body of Christ. Bale materializes this conventional metaphor in physical liveries worn by both characters and audience members. In doing so, Bale adapts the contemporary practice of selling liveries at festive events such as Robin Hood events and civic biblical plays. While Phillip Stubbes later decried such practices for their incorporation of participants into the ribaldry of Robin Hood festivities, Bale adapts this practice to incorporate his audience into a visible, collective body of followers of a Reformed Christ. Significantly, Bale’s biblical trilogy represents an adaptation of parish and civic playing practices to the Reformed doctrine of his plays. His trilogy may be considered an example of a Reformed parish or civic biblical play.