User:Jre1991/sandbox

Works Cited

The Creole Synthesis in the New World:: Cultures in Contact. URBANA; CHICAGO; SPRINGFIELD: University of Illinois Press, 2013, p. 28.

“Emmett, Daniel Decatur (1815-1904). (Reference Source).” Benet's Reader's Encyclopedia of American Literature, vol. 1, 1991, p. 309.

“Emmett, Daniel Decatur (1815-1904). (Reference Source).” Benet's Reader's Encyclopedia of American Literature, vol. 1, 1991, p. 309.

Francis Steele, By John. “How Emmett Wrote ‘Dixie.’” New York Times (1923-Current File), New York, N.Y., 1926, p. SM21.

Gerteis, Louis S. “Minstrel Shows.” 2003, pp. 402–402.

Nathan, Hans. Dan Emmett and the Rise of Early Negro Minstrelsy. Norman, : University of Oklahoma Press, 1962.

“The Origins of Jim Crow.” The Jacksonville Free Press, vol. 16, Jacksonville, Fla., 2002, p. 5.

Riis, Thomas. “Demons of Disorder: Early Blackface Minstrels and Their World.” Ethnomusicology, vol. 43, University of Illinois Press, Champaign, 1999, pp. 555–557.

Tyndall, C. “Blacks in Minstrelsy: The Grand Paradox.” Black Masks, vol. 12, no. 4, 1997, p. 7.

The Uncanny History of Minstrels and Machines, 1835–1923. Amherst; Boston: University of Massachusetts Press, 2012, p. 104.

Ziter, Edward, and Sarah Meer. “Reviews: Racism on the Victorian Stage: Representations of Slavery and the Black Character., Blackface Minstrelsy in Britain.” Nineteenth Century Theatre and Film, vol. 36, 2009, pp. 87–91.

The Croxton Play of the Sacrament is a religious play that most closely resembles a mystery play. Although the play does not deal directly with the life, death, or resurrection of Christ, it does have Christ appearing to a group of Jewish men.

Characters
Vexillators – Men who give a summary of the play before it begins. Jonathas – A Jewish merchant. Skeptical of the holy host, and aims to disprove it. Aristorius – A Christian merchant. Flawed in his own ways, as he steals and sells Christ’s body to Jonathas. Episcopus – The Bishop. Presbyter – A Priest named Isoder. Clericus – A Clerk named Peter Paul. He is part of the deal to buy the host. Jason – “The second Jew.” Jasdon – “The third Jew.” Masphat – “The fourth Jew.” Malchus – “The fifth Jew.” Magister Phisicus – A master physician named Brundich. Coll – A servant.

Summary
The play begins with the Vexillators appearing to the audience with banners. They inform the audience of the plot. After the summary, the Vexillators ask that the audience never doubt Christ. They tell the audience that the play is set in Croxton, and then the play begins. Aristorius appears, praising his success as a merchant, and thanking God for allowing him to sell his goods. Isoder enters, and says that he will do anything in his power to ensure that Aristorius remains successful. Jonathas then enters, thanking Mohammed for all that he possesses. Jonathas is a Jewish man who is skeptical of the holy host and Christian ways. He, along with his friends Jason and Jasdon, have discuss how insane it is for Christian men to “believe on a cake” in their religion. The cake is referring to the holy host. They wish to desecrate a host in the name of their god, and discuss ways in which they can secure one. The Jewish men visit Aristorius, and ask him to sell the host. He initially refuses, as they are not of the Christian faith. Jonathas increases his offer to 100 pounds, which Aristorius is unable to turn down. Aristorius is afraid that he will get caught stealing the host, but Jonathas convinces him to do it at night time. Aristorius goes to visit the priest, and gets him drunk on wine – enabling him to steal the host. Once they receive the consecrated host, Jonathas, Jason, Jasdon, Malchus, and Masphat decide to stab the host to see if it bleeds. To their surprise, it bleeds. Now terrified of the host, they decide to boil it in hot oil. When Jonathas tries to throw the host in the oil, it clings to his hand. He tries to wash it away in water, but again it stays attached. The men decide to pin it to a host, and pull Jonathas until he is released. The host is not removed, and the men wind up pulling so hard that his arm detaches from his body. Defeated, the men go to bed and vow to keep their plot a secret. Coll and Brundich now enter. It is revealed that Brundich is a corrupt man, who makes his patients ill again to get the most money possible out of them. Coll tells Brundich of Jonathas’ troubles, and Brundich proceeds to attempt to treat him. Jonathas refuses this treatment, and tells Brundich to leave. Jonathas has his men remove the host and toss it in the bubbling oil. The oil then turns to blood, and overflows. They then toss the host in a hot oven, where it begins to ooze blood and then eventually explode. After the explosion, an image of Christ appears to the men. Christ asks the Jewish men why they despise him so much. He proceeds to blame them for the desecration of his body both presently and in the past. Still, he says that he will forgive them. The men repent their sins, and Christ heals Jonathas’ arm when he dips it in the cauldron. Upon confessing his sins to the Bishop, Jonathas brings the Bishop back to the image of Christ. The Bishop converts the image back into bread, and goes back to the church. Aristorius confesses his sins, and asks forgiveness from the Bishop. At the end of the play, all of the men attend a sermon at the church. The Jewish men convert, and proclaim belief in the Father, the Son, and the Holy Ghost. The Bishop then asks for God’s blessing, and says in Latin “Te Deum Laudamus” (we praise you, God) which ends the play.

Similarities to the Passion of Christ
The main plot points throughout the play correspond to the main plot points from the Passion. As Aristorius is Christian, his selling of the host symbolizes Judas betraying Christ. The host is nailed to a post, relating to Christ's crucifixion. The cauldron symbolizes Christ's burial, while the oven symbolizes hell. The image of Christ revealed at the end represent the resurrection of Christ.

Historical Background and Author
While the exact date and author are unknown, it is believed that the play was written in England during the mid fifteenth century.

Performance History
On March 13, 2014 a recording of a performance was uploaded to Vimeo from the user Unmarked Films. The performance can be viewed at https://vimeo.com/89019417.

Publishing History
Known publications of the play include:
 * Play of the Sacrament: A Middle-English Drama, Edited from a Manuscript in the Library of Trinity College, Dublin, with a Preface and Glossary. Ed. Whitley Stokes. Publications of the Philological Society. Berlin: Asher, 1862.
 * Manly, John Matthews, ed., Specimens of the Pre-Shakesperean Drama, with an Introduction, Notes, and a Glossary. 2 vols. Boston: Ginn & Company, 1897–98. 1:239–76.
 * Waterhouse, Osborn, ed., Non-Cycle Mystery Plays, together with the Croxton Play of the Sacrament and The Pride of Life. EETS e.s. 104. London: Kegan Paul, Trench, Trübner & Co., 1909. Pp. 54–87.
 * Adams, Joseph Quincy, ed., Chief Pre-Shakespearean Dramas: A Selection of Plays Illustrating the History of the English Drama from Its Origin down to Shakespeare. Boston: Houghton Mifflin, 1924. Pp. 243–62.
 * Davis, Norman, ed., Non-Cycle Plays and Fragments. EETS s.s. 1. Oxford: Oxford University Press, 1970. Pp. 58–89.
 * Coldewey, John C., ed., Early English Drama: An Anthology. New York: Garland Publishing, 1993. Pp. 274–305.
 * Bevington, David, ed., Medieval Drama. Boston: Houghton Mifflin, 1975. Pp. 754–88.
 * Walker, Greg, ed., Medieval Drama: An Anthology. Oxford: Blackwell, 2000. Pp. 213–33.

Works Cited (from early in the semester, not for Croxton)
Breglio, John. I Wanna Be a Producer: How to Make a Killing on Broadway ... or Get Killed. Applause Theatre & Cinema Books, an Imprint of Hal Leonard Corporation, 2016.

Conte, David M, and Stephen Langley. Theatre Management : Producing and Managing the Performing Arts. Hollywood, Calif., Hollywood, Calif. : EntertainmentPro, 2007.

Farber, Donald C. Producing Theatre: a Comprehensive Legal and Business Guide. Limelight Editions, 2006.

Langley, Stephen. Theatre Management in America : Principle and Practice : Producing for the Commercial, Stock, Resident, College, and Community Theatre. New York, New York : Drama Book Specialists,                              1980.

Long, Robert Emmet. Producing & the Theatre Business : Working in the Theatre. ["New York, NY", "New York"], New York, NY : Continuum : American Theatre Wing, 2007.

Plautus, Titus Maccius, et al. ''Roman Drama. The Plays of Plautus and Terence.'' Indianapolis, Indianapolis, Bobbs-Merrill, 1965.

Victor, Benjamin. “Further Remarks on the Andria of Terence.” Harvard Studies in Classical Philology, vol. 99, 1999, pp. 269–273.

Victor, Benjamin. “Remarks on the Andria of Terence.” Harvard Studies in Classical Philology, vol. 95, 1993, pp. 273–279.

Vogel, Frederic B., and Ben Hodges. The Commercial Theater Institute Guide to Producing Plays and Musicals. Applause Theatre & Cinema Books, 2006.

Young, Karl. The Drama of the Medieval Church. Oxford, Oxford : Clarendon Press, 1933.