Medieval Verse and Drama
The Prophecy of Ambrosius Merlin concerning the Seven Kings is a 12th century poem written ca. 1144 by John of Cornwall in Latin, with some of the marginal notes in Cornish. John stated that the work was a translation based on an earlier document written in the Cornish language. The manuscript of the poem, on a codex currently held at the Vatican Library, is unique. It attracted little attention from the scholarly world until 1876, when Whitley Stokes undertook a brief analysis of the Cornish and Welsh vocabulary found in John's marginal commentary. These notes are among the earliest known writings in the Cornish language. In 2001 this important work was translated back into Cornish by Julyan Holmes.
Pascon agan Arluth ('The Passion of our Lord'), a poem of 259 eight-line verses probably composed around 1375, is one of the earliest surviving works of Cornish literature. The most important work of literature surviving from the Middle Cornish period is the Cornish Ordinalia, a 9000-line religious verse drama which had probably reached its present form by 1400. The Ordinalia consists of three mystery plays, Origo Mundi, Passio Christi and Resurrexio Domini, meant to be performed on successive days. Such plays were performed in a Plain an Gwarry (Playing place).
The longest single surviving work of Cornish literature is Beunans Meriasek (The Life of Meriasek), a two day verse drama dated 1504, but probably copied from an earlier manuscript.
Other notable pieces of Cornish literature include the Creation of the World (with Noah's Flood) which is a miracle play similar to Origo Mundi but in a much later manuscript (1611); the Charter Fragment, a short poem about marriage, believed to be the earliest connected text in the language; and the recently-discovered Beunans Ke, another saint's play, notable for including some Arthurian material.
Read more about this topic: Cornish Literature
Famous quotes containing the words medieval, verse and/or drama:
“Nothing in medieval dress distinguished the child from the adult. In the seventeenth century, however, the child, or at least the child of quality, whether noble or middle-class, ceased to be dressed like the grown-up. This is the essential point: henceforth he had an outfit reserved for his age group, which set him apart from the adults. These can be seen from the first glance at any of the numerous child portraits painted at the beginning of the seventeenth century.”
—Philippe Ariés (20th century)
“Then my verse I dishonour, my pictures despise,
My person degrade & my temper chastise;
And the pen is my terror, the pencil my shame;
And my talents I bury, and dead is my fame.”
—William Blake (1757–1827)
“To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air: the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.”
—Eleonora Duse (1858–1924)