PETER HAPPE, Cyclic Form and the English Mystery Plays: A Comparative Study of the English Biblical Cycles and their Continental and Iconographic Counterparts. Pp. 349 (LUDUS: Medieval and Early Renaissance Theatre and Drama 7). Amsterdam and New York, Rodopi, 2004. Hardbound 80.00 (ISBN 90 420 1652 3); paperbound 30.00 (90 420 1662 0).

Abstract

IN this clear and accessible book Peter Happé argues that cyclic form was an intentional creation of medieval drama. In order to explore the sophisticated effects created by this form, Happé performs an admirably thorough survey of the cyclic mode in iconography, continental drama, and later works such as John Bale's projected dramatic cycle. The breadth of Happé's study means that this book is full of interesting nuggets of information, such as the influence of Francisan thinking on this kind of drama, or the way in which the roof bosses of Norwich Cathedral create a unique version of cyclic form: the ribs of the ceiling forming an objective correlative to the web of allusion between the various episodes. Also by approaching medieval storytelling from this angle, Happé shows how embellishments of the biblical narrative can engage with the cyclic structure of the whole. For example, in both the Holkham Bible Picture Book and Passion Catalane–Occitane a childhood story which interacts with Christ's infancy is created for one of the actors in the Passion narrative. In the former, the pentitent thief prevents his father from robbing the holy family on their way into Egypt. In the latter, the Massacre of the Innocents compels Judas's mother to send him away, which results in him re-enacting the tragedy of Oedipus. Cyclic form, in both drama and iconography, encourages the creation of stories and images which circle round the central event of Christ's Passion.