Croxton Play Of The Sacrament Research Articles

“But Now I Consydre Thy Necesse”: Augustine’s Doctrine of Jewish Witness and the Restoration of Racial Hierarchies in the Croxton Play of the Sacrament

This paper examines the depiction of Jewish and Christian merchants in the medieval English Host miracle play, the Croxton Play of the Sacrament. This play is a critical illustration of religious racialization, effectively demonstrating the perpetuation of anti-Jewish stereotypes and legitimizing violence. Positioned within a broader scholarly debate, particularly in relation to Augustine’s doctrine of Jewish witness, the play portrays Jews as allegorical figures that validate Christian theological constructs. This paper delves into the representation and linguistic depiction of Jewish characters in the play, emphasizing their systematic dehumanization and instrumentalization in Christian narratives. A significant focus is placed on the coerced conversion of Jewish characters, which forces them into the archetype of the “Wandering Jew”, thereby highlighting motifs of symbolic aggression and unending diaspora. This paper also confronts contemporary scholarly perspectives that view the play as challenging religious boundaries, positing that such interpretations overlook the ingrained racialization and marginalization of Jewish identity during the European Middle Ages. It argues that the play’s transient disruption of power dynamics ultimately reinforces prevailing social hierarchies, thereby solidifying deep-seated anti-Jewish sentiments.

Symptomatic Subjects: Bodies, Medicine, and Causation in the Literature of Late Medieval England by Julie Orlemanski

Reviewed by: Symptomatic Subjects: Bodies, Medicine, and Causation in the Literature of Late Medieval England by Julie Orlemanski Rebecca Krug Julie Orlemanski. Symptomatic Subjects: Bodies, Medicine, and Causation in the Literature of Late Medieval England. Philadelphia: University of Pennsylvania Press, 2019. Pp. ix, 333. $69.95. Julie Orlemanski's Symptomatic Subjects demonstrates that representations of physical bodies as "symptomatic"—that is, subject to both decay, death, and sickness and, also, to interpretation—were central to late medieval English imaginative writing. The book ranges with great energy over well-known works such as Chaucer's Knight's Tale and Henryson's Testament of Cresseid; marches through readings of less-familiar texts, including tales from the Gesta Romanorum, Hoccleve's Series, and the Croxton Play of the Sacrament; and runs through excerpts from medical works by Arnau of Vilanova, John Arderne, Guy de Chauliac, and Roger of Parma. The ambitious scope of the project—bodies, medicine, and causation—is somewhat overstated but exciting. Through her dynamic readings of texts that feature descriptions of bodily processes, Orlemanski shows that late medieval literary writers had come to see literary production as a space in which embodiment, textuality, and signification could be explored. Both bodies and written texts had become subject to interpretation and narration in late medieval England. Orlemanski explains that her book "tells the story of how embodied subjectivity was narrated in its entangled relation to the world in the era of medicine's unprecedented textual vitality. In that, it offers one approach to the phenomenology of medieval selfhood, or, what it was [End Page 429] like, within the era's mix of discourses, to reflect on both having and being a body" (2). The book traces patterns of causation and embodiment and draws a picture of late medieval textual etiology as a force that can be observed at work in literary writing. It defines etiology as concerned with "projects of explanatory invention" that explore causation in multiple ways. Like late medieval readers, whom the book's author describes as "bricoleurs of etiology" (3), Orlemanski herself gathers up literary writings representing physical ailments to create a collage of late medieval literature and its relation to medical/literary causality. The etiology that Symptomatic Subjects finds most interesting is generic. Following two synthetic chapters that trace a broad history of medieval medicine, the book is composed of six chapters focused on literary works. These chapters develop a narrative about the representation of bodies and generic expression in the period. As this is the heart of the book, I first outline chapters 3 through 8. The discussion of genre in these chapters is underwritten by recent scholarship on the link between narration and medicine. It is rooted, first, in the appearance in medical discourse of satire. Taking up a point from Douglas Gray's analysis of Henryson's "Sum Practysis of Medecyne" linking jargon and satire, Orlemanski produces readings of Henryson and the Croxton Play of the Sacrament that underscore the difficulty of reconciling the linguistic and the material. From satire she turns to exemplary stories, which she sees as functioning like medicine because both involve judgments concerning relationships between the general and the particular. Such adjudication, she observes, was subject to revision and, in some cases, incoherence. This, then, becomes the subject of a section about romance conventions in Chaucer's Knight's Tale and Henryson's Testament of Cresseid. Both texts focus on dying or diseased bodies and can be seen as doing so in relation to reflections on narrative closure. She turns then to the narration of self in Hoccleve's Series and Margery Kempe's Book. The Hoccleve chapter enacts Orlemanski's claims most effectively as it demonstrates that the Series can be seen to wrestle with "the self's inability to master its own materiality and the signifier's incapacity to guarantee its own meaning" (220). Her discussion of Kempe focuses on the Book's representation of involuntary crying, discussed in all its physicality, and movements between first- and third-person narration. The outline above demonstrates the complexity of the book. Because this is the case, I describe two chapters in detail below to provide a sense [End Page...

Tamara Atkin, The Drama of Reform: Theology and Theatricality, 1461–1553. (Late Medieval and Early Modern Studies 23.) Turnhout: Brepols, 2013. Pp. x, 195. €70. ISBN: 978-2-503-54651-3.

Tamara Atkin, <i>The Drama of Reform: Theology and Theatricality, 1461–1553</i>. (Late Medieval and Early Modern Studies 23.) Turnhout: Brepols, 2013. Pp. x, 195. €70. ISBN: 978-2-503-54651-3.

Performance Anxiety and the Passion in the Croxton Play of the Sacrament

The Croxton Play of the Sacrament paradoxically enacts anxieties about the propriety of Passion drama. Framing the play's central action—the Jews' testing of the Communion wafer in a parody of the Passion—with the story of a Christian merchant who enables or even sponsors those acts, the Croxton play provides critical distance on the very performance it enacts. Ultimately, it replaces the Passion play with, and judges it inferior to, a more decorous and authoritative processional ritual. Moreover, in presenting a Christian merchant as the catalyst for the Jews' actions, the play not only reinforces the anti-Semitic association of Jews with commerce, but also directs part of its antiludic anxieties at Christian mercantile culture, thus deploying its anti-Semitism to criticize the culture that largely underwrote late medieval drama. In all of this, the play participates in an antiludic discourse that may be broader and earlier than previously supposed.

Hocus Pocus and the Croxton &lt;i&gt;Play of the Sacrament&lt;/i&gt;

This article addresses how heresy and parody intersect in the Croxton Play of the Sacrament through its religiously and verbally dissenting characters. The play’s highly theatrical depiction of a host miracle both enforces and undermines its emphatic endorsement of the real presence. The play ameliorates this tension by the privileging of words over deeds, aligning the transformative power of the consecratory words with the transformative power of believers’ confessions at conversion wherein both words and actions enact a transubstantiation, thus manifesting the real presence of Christ. The play’s language becomes a moral marker and the vehicle for the heretics’ dissent (and descent) but also, when the Jews convert, the means of their reconciliation.

Inner Theatres of Good and Evil: The Mind’s Staging of Gods, Angels and Devils by Mark Pizzato (review)

Reviewed by: Inner Theatres of Good and Evil: The Mind’s Staging of Gods, Angels and Devils by Mark Pizzato Beth Kattelman Inner Theatres of Good and Evil: The Mind’s Staging of Gods, Angels and Devils. By Mark Pizzato. Jefferson, NC: McFarland, 2011; pp. 368. In his 2006 book Ghosts of Theatre and Cinema in the Brain, Mark Pizzato took a look at the ways in which the shared physiology of the human brain allows theatre and film to activate collective “ghosts” within the inner theatre of our minds. In this present book under review, Inner Theatres of Good and Evil, he builds upon that theory by expanding his exploration to the concepts of good and evil as manifested by the characters of gods, angels, and devils within theatre, film, and television. This book is thus another contribution to the ever-growing corpus of work on the intersection of cognitive theory and performance, but with a difference. Having bemoaned Bruce McConachie and Elizabeth Hart’s attacks on poststructuralism in his review of their influential 2006 book Performance and Cognition: Theatre Studies and the Cognitive Turn (Theatre Journal 59, no. 4 [2007]: 685–86), Pizzato attempts to reintegrate theories like Lacanian psychoanalysis into an empirically based cognitive model. Here, Pizzato explores the way in which Lacan’s real, imaginary, and symbolic orders each have a general correspondence to a human being’s brainstem/limbic system, right brain hemisphere, and left brain hemisphere, respectively, and notes that these also correspond to cognitive psychologist Merlin Donald’s evolutionary stages of cultural development in our hominid ancestors (9). In his introduction, “The Brain’s Evolving Theatre,” Pizzato lays out this correspondence and discusses how our mimetic culture influences evolutionary change. He notes that ideas and ideologies leave neural patterns within us, patterns that can be shared through performance and other mimetic acts. These memes, in turn, directly influence the evolution of our society. In chapter 1, “Neural and Prehistoric Signs of the Divine,” Pizzato begins his chronological look at the mimetic urge with a discussion of cave art, reminding us that we have the same “neural apparatus” as our ancient ancestors, and that our apparatus, “with its cultural connections, is still developing through mimesis, myth, and theory, in our current mass-media theatre” (19). The chapter lays out the scientific basis for the argument that follows and is dense with a litany of major figures and theories from the field of neurotheology. While this makes for difficult reading at times, it is necessary in order for Pizzato to give the reader sufficient background on the fields of study that he will draw on throughout the rest of the book. Chapter 2 advances the historical survey with a close reading of several major canonical texts through the lens of Lacanian psychoanalysis as it relates to cognitive science. Here, Pizzato maps disparate “God Concepts” to the right and left hemispheres of the brain, and notes how dramatic plot structures within well-known myths activate particular neurological pathways, thus creating a “Western cultural unconscious” (82). In this chapter, Pizzato discusses Egyptian coronation drama, the myth of Prometheus, The Bacchae, and The Oresteia, among others. In chapter 3, he moves to Lacanian-cognitive readings of biblical dramas like the Croxton Play of the Sacrament, the plays of the Wakefield Cycle, and Everyman. This chapter also offers an interesting discussion of the scapegoat’s function within society, and of the way in which a scapegoat character within drama activates human neuropsychology. Pizzato builds on the theories of evolutionary psychologist David Barash, whose work has shown that animals have an innate need to redirect aggression in order to subordinate stress, and this redirected aggression may take the form of scapegoating. Pizzato then posits that fictional characters who function as a scapegoat onstage offer the audience an outlet for this redirected aggression. Here, his ideas closely align with those found in René Girard’s theories on mimesis and scapegoating. In chapter 4, “From Renaissance Rebirths to Postmodern Experiments,” Pizzato moves on to the early modern world with discussions of canonical works, such as Marlowe’s Doctor Faustus, Shakespeare’s The Tempest and Hamlet, and Büchner’s Woyzeck. In order...

Middle English Drama Beyond the Cycle Plays

AbstractThe study of Middle English drama has long been dominated by discussion of the cycle plays, the sweeping multi‐part pageants of biblical history that were performed yearly in cities such as York. But those cycle plays form only part of a complicated and rich culture of performance in late‐medieval England. This essay seeks to provide a sense of the variety of that culture, attesting to the breadth of medieval English drama in play texts such as Mankind, the Croxton Play of the Sacrament, and the Digby Mary Magdalene, and also in other kinds of performance record, such as dramatic fragments and prose meditations. For the broadening of medieval theater history beyond the cycle plays includes not only other significant genres of dramatic activity, but also performative practices and literary texts that lie relatively far from the stage. A theater history beyond the cycle plays also necessarily becomes a theater history beyond the theater, as scholars write a new history of medieval performance.

Feeling Persecuted: Christians, Jews, and Images of Violence in the Middle Ages

Feeling Persecuted: Christians, Jews, and Images of Violence in the Middle Ages

Bread God, Blood God: Wonderhosts and Early Encounters with Secularization

This article challenges the secularization thesis, which envisions a bewildered medieval subjectivity that stands in stark contrast to our rational modernity, by way of an analysis of bleeding Eucharists. These artifacts throw into relief the complex skein of problems woven together under the name of secularism, especially the degree of enchantment experienced by subjects in the century leading up to the Reformation. The complex series of responses to miraculous Eucharists in the Wilsnack blood cult and in the Croxton Play of the Sacrament demonstrate that skepticism is a structural moment in the creation of belief; the disavowal of faith is a lure that dupes subjects into ideological conformity. In this respect, the defensive mode of iconoclastic debunking is not the exclusive possession of a modern and cynical age but an implicit property of an image worship that is essentially an agent of its own secularization, inspiring bewilderment and demystification in turn.

And Here's Your Host…: Jews and Others in the Croxton Play of the Sacrament

This essay examines the remarkable late-medieval English dramatic work known as the Croxton Play of the Sacrament—an ambivalent parochial re-interpretation of the Continental genre of the ‘host desecration play’. It suggests that the conventions, ideas and even the characters of the play are curiously distinct from those of the surviving, strongly antisemitic European plays, having seemingly undergone a sea change in the course of their journey from central Germany, Italy and France to rural East Anglia. The essay explores the potentially radical implications of the play's conception of its Jewish characters, and of the central figure of Jonathas in particular, arguing that, while the playwright was not consciously seeking to question, still less to undermine, conventional assumptions about the nature and role of the Jews in Christian theology, the net effect of his dramatic experiments was to set those traditions on their heads.

Impersonators in the Market: Merchants and the Premodern Nation in the Croxton Play of the Sacrament

This article historicizes the Croxton Play of the Sacrament by investigating its representation of overseas trade as a force deracinating the identities of two merchants, Aristorius and Jonathas. In the fifteenth century, the English economy began transforming from one based primarily on homegrown exports to one based increasingly on exotic imports, spurring overseas merchants to invest in "Englishness" as a reaction to working within this culturally diverse market. Two fifteenth-century texts, The Libelle of Englyshe Polycye and The Commodyties of England, articulate a premodern English nationalism in response to such overseas trafficking. Locating the play within these historical and textual environments uncovers how the bishop's disciplining of both merchants at the play's end expresses a desire to stabilize identity through geographic placement, a desire that idealistically seeks to contain the effects of a market that insistently intermingles native and foreign.

The once and future Jew: The Croxton Play of the Sacrament, little Robert of Bury and historical memory

The Jews who purchase and attack the host in the fifteenth-century East Anglian drama, the Croxton Play of the Sacrament, have long been regarded by critics as referents to Lollards or to doubters more generally, not to Jews. However, the play does refer to the history of Jews in Bury St. Edmunds, where, most likely, it was performed, and more specifically, it refers to the 1181 ritual murder accusation surrounding Little Robert of Bury. This accusation was commemorated in a variety of forms in Bury well into the fifteenth century. Further, in its representation of host desecration as a literal reenactment of the Passion, the play creates a temporal mode in which the Jews re-enact the Passion in the present, just as the Mass is a re-enactment of the Crucifixion. The play simultaneously makes the audience witness to the murder of little Robert and to the Crucifixion, with both existing in a kind of “eternal present,” a temporality central to the Mass and also to related late-medieval English devotional practices. The story of little Robert comes to exist not only in historical memory, but also in the eternal present in which the Crucifixion and its re-enactments are joined. This powerful temporality creates a conception of the Jew as perpetual murderer, guilty not only of crucifying Christ in the historical past, but in the present, and until the Parousia in the future, thus enabling a particular aspect of the negative stereotype of “the Jew,” the perpetually present enemy, ever plotting against Christ and Christendom.

What Sacrament? Excess, Taboo and Truth in the Croxton Play of the Sacrament and Twentieth-Century Body Art

What Sacrament? Excess, Taboo and Truth in the Croxton Play of the Sacrament and Twentieth-Century Body Art

Theatrical History in the Croxton Play of the Sacrament

Theatrical History in the Croxton Play of the Sacrament Michael Jones According to one early, and somewhat dyspeptic, twentieth-century critic, the Croxton Play of the Sacrament “has absolutely nothing to recommend it. It is without dignity, pathos or dramatic power, and its incongruous humour is of the lowest kind.” 1 Late twentieth-century commentators, employing a different set of critical coordinates, have been more charitable. While it is true that the play may never appeal to any genteel canons of taste, some contemporary medievalists have found that it can give purchase on such matters as historicism, periodization, the body and punishment, and medieval anti-Judaism. 2 In short, some have found that it has much to recommend it—provided one’s critical coordinates are the appropriate ones. This essay will touch on some of the more recent readings en route to its claim that the historical palimpsest that is the Croxton Play of the Sacrament is a pivotal document in the history of anti-Judaism and the history of drama in England and, furthermore, a fulcrum for many of the debates current in contemporary Medieval studies. As the play seems to generate certain readings, or to choose the critical coordinates by which it is read, it might be possible to view it as a kind of meta-text for this generation of methodologically self-conscious medievalists. In 1926, in the century’s first extended study of the Play of the Sacrament, a Ms. F. E. Barnes wrote: “It is a cosmopolitan product—this Croxton play—drawing freely from the history, lore, and literature of the Middle Ages.” 3 In recent years, the play has been the focus of renewed attention and most commentators have apparently proceeded from a different premise. Nearly all of the discussions have been resolutely etiological in purpose and emphasis: invariably seeking to account for the play’s curious farrago of doctrinal argument, sanguinary stage effects, and anti-Judaic legend by invoking a purely doctrinal framework, reconstructing a context of late Medieval religious controversy and anti-Lollard propaganda, and annexing it to one particular time and place on the basis of the existence of one or two place names in the manuscript. 4 This essay will concern itself more with function [End Page 223] than with origin, and more with reception than with production. That is to say, the essay is concerned with the function of theatricality within the play and within its original cultural, civic context of somewhere around the 1480s and, as it survives only in a sixteenth-century manuscript, the function the document might be said to have in the religious controversy of the 1530s. 5 In fact, if the play’s origin can be tied to a particular time (the 1480s) and a particular community (Bury St. Edmunds in Suffolk) as some scholars have maintained, then its very existence in sixteenth-century manuscript is evidence of an original recontextualization that this essay seeks to emulate. As some Tudor correspondents wrote of the early to mid-sixteenth century, “many of the popish ceremonies were still tolerated, but [] new significations were put on them.” 6 Much the same might be said for fifteenth-century plays. 7 More recent work suggests that attempts to establish the play as a work of considerable artistic achievement on the one hand, or as a piece of crude propaganda in a historically specific polemic on the other, fail to do justice to the radical eclecticism noted all those years ago by Ms. Barnes. 8 It should be no surprise if a play which tropes on that most overdetermined cluster in late Medieval England—Jews and the corpus—should be somewhat overdetermined itself. Besides, the play as play demonstrates the same transgression of boundaries—generic, cultural, historical—as it thematizes in its own plot. To which genre can it be said to belong? Is it medieval or early Modern? Philo- or anti-Judaic? Catholic or Reformist? Such a creative elision of boundaries seems to be enlisted in the service of what we might call stigmatization. This designation can bear both its literal and metaphorical senses: the branding of the body with infamy using the manifold tools of torture, and the...

Immaculate flesh and the social body: Mary and the Jews

Despite the fact that no practicing Jews were permitted to reside in fourteenth and fifteenth-century England, late-medieval English devotional culture is rife with images of Jews, from the Old Testament patriarches in the Corpus Christi Plays to the blasphemous, terrifying host desecrators dramatized in the Croxton Play of the Sacrament and legitimized in Middle English sermons.1 Baffled by the paradoxical centrality of Jews to late-medieval English literature and art, scholars have acknowledged a continuing English tradition of anti-Judaism, while simultaneously asserting that Jews function in this literature to represent a generic "Other," or as a displacement for the Lollard sect that threatened religious orthodoxy with its iconomachia and reformist ecclesiology.2 The tension between these positions is obvious. The evidence of a continuous anti-Judaic iconographie tradition in lay devotional manuscripts necessarily challenges this theory of displacement, suggesting that Jews were not merely symbols of alterity in English culture, whether generic or specific, but rather that their presence was a necessary element in the devotional world of the later medieval English laity. Anti-Judaic images and ideas were particularly closely associated with the cult of the Virgin in late-medieval England. Marian devotional works, whether fictional like Chaucer's "Prioress's Tale" or liturgical like Books of Hours and devotional compendia, allow us therefore to investigate in some detail the significance of Jewish presence in late-medieval English religious culture. A number of the famous extant Middle English manuscripts, including the Bohun Hours and the Vernon manuscript, contain narratives and symbol clusters with a decidedly anti-Judaic thrust;3 but the most sustained program of anti-Judaic images I have found is in the elegant Carew-Poyntz Hours, Cambridge Fitzwilliam Ms. 48. In this encyclopedia of late-medieval religious imagery, a thread of cultic anti-Judaism - an anxiety about Jews violating the Catholic sacraments - links

Revisiting The Croxton Play of the Sacrament: spectacle and the other's voice

Revisiting The Croxton Play of the Sacrament: spectacle and the other's voice

The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages by Gail McMurray Gibson

302Comparative Drama "like any other interpenetrating aspect of reality," artists like Cage, Spolin. Chaikin, and the Wooster Group are not diminishing or fleeing the self: The positive desire of artists to participate with their materials rather than use them to express themselves (or even profundities about themselves) can be understood as a way of embracing the world, not of withdrawing from it. Perceivers and makers are intertwined with what they see and make. Neither the self nor that seen is discreet, inviolable, and constant. Contemporary artists do not find this idea depressing. Its exploration has not led them to abandon interest in or feeling for the world. On the contrary, for them the exploration is exciting: it has become not only an aesthetic necessity but a moral and political one as well. (p. 130) Actors and Onlookers is an exceptionally thoughtful, penetrating analysis of contemporary theatrical practice, the aesthetic principles on which it is implicitly based, and the correspondences between these principles and the world view of modern physics. I wish, however, that Schmitt would have extended or broadened her historical context to include pre-Cagean artists whose art embraced a modernist scientific world view and to whom Cage indeed has certain debts. One thinks most immediately of Surrealists like Artaud, but even Monet was in some respects a Cagean precursor. Jack Flann, for example, reviewing an exhibition of Monet's Serial Paintings, acutely observes how they implicitly reflect an aesthetic based on observing, spontaneity, and the non-hierarchical and a view of nature that is "inseparable from the individual temperament that perceives it at a specific time and from a specific place" ("Monet's Way," The New York Review of Books, 17 May 1990, pp. 9-13). But this is a minor criticism in the light of the many critical insights Actors and Onlookers provides. It should be, in my view, required reading for anyone interested in or puzzled by avantgarde theater and the welter of new approaches to and theories about the craft of acting. DANIEL WATERMEIER University of Toledo Gail McMurray Gibson. The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages. Chicago: University of Chicago Press, 1989. Pp. xiv + 252. $34.95. Twenty-five years ago, in an essay titled "The Study of English Medieval Drama," Arthur Brown called for a series of detailed regional studies of medieval drama: "This kind of study will consider the drama of a single locality not so much from the point of view of its resemblances to drama elsewhere, not so much as a single manifestation of the great spirit of religious drama in Europe in the Middle Ages, but rather as a local product, influenced to a great extent by local circumstances, reflecting local conditions and attitudes, produced and performed by local people, often tradesmen, regarded as a local responsibility" (in Franciplegius: Medieval and Linguistic Studies in Honor of Francis Peabody Magoun, Jr. [1965], pp. 269-70). Although the Malone Society and the Records of Early English Reviews303 Drama (REED) project have published many of the local records of dramatic production in English counties over the past three decades, comparatively few scholars have responded to Brown's call for focused studies of play-texts in their regional context. Gail McMurray Gibson's book, then, is pioneering work, a fresh and important interdisciplinary approach to the drama of fifteenth-century East Anglia. Although records elsewhere indicate the thriving of playmaking across provincial England in this period, East Anglia is unique in the diversity and extent of its surviving play-texts. East Anglian theater (as we can surely know it) encompassed biblical plays (notably those of N-town and Norwich), the only two extant saints' plays, all but one of the period's morality plays, and the Croxton Play of the Sacrament. This rich heritage of East Anglia's "golden age" provides the spur for Gibson's exploration of the devotional aesthetic and local patronage that inspired and produced it. Her first chapter clearly and thoughtfully redefines the general terms for her localized study. Challenging prejudices against fifteenth-century culture and spirituality (derived in part from Johan Huizinga's Waning of the Middle Ages), Gibson identifies the...

LOLLARD LANGUAGE IN THE CROXTON PLAY OF THE SACRAMENT

Journal Article LOLLARD LANGUAGE IN THE CROXTON PLAY OF THE SACRAMENT Get access ANN ELJENHOLM NICHOLS ANN ELJENHOLM NICHOLS Winona State University Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 36, Issue 1, March 1989, Pages 23–25, https://doi.org/10.1093/nq/36-1-23 Published: 01 March 1989

The Croxton Play of the Sacrament: A Re-Reading

The Croxton Play of the Sacrament: A Re-Reading