ANCIENT AND MEDIEVAL DRAMA 

Ancient Greek Drama was the first seed which was sowed and became a base for all later dramas. The Roman Drama was an offshoot of the Greek but was soon degraded and corrupted in later empires. With the coming of Christianity as the state religion, theatre was considered lowly and frowned upon. Very soon the Church itself was utilising the tendencies, earlier endeavoured to be crushed. The 'cradle of the drama' 'rested on the altar'.

Drama arose in 10th century in monasteries when modifications were being done in mass. Religion could be explained to the illiterate using the plays which depicted scenes from the Master's life. Often symbolic objects were used to convey the tales' meanings and even the priests used Pantomime to explain the events of Christian ritual celebrations. These performances developed into liturgical dramas, the earliest is Whom do You Seek Easter Trope, dating ca. 925. Liturgical drama was sung by two groups and no actors were involved. However, between 965 and 975 Ethelwold of Winchester composed Regularis Concordia (Monastic Agreement)' which contains a playlet complete with directions for performance, the liturgical plays were performed near a Church, with incidental music and not as essential parts of a standard church service.

ANGLO-NORMAN LITERATURE 

Also known as the Norman French literature includes old French language writings as used in medieval England. After the Norman Conquest in 1066, this dialect became the vernacular of court, the law, the church, schools, universities, and other areas of trade. Anglo-Norman was an acquired tongue and a mark of gentleness used in wales and Ireland and to a certain limit in Scotland.

Norman conquest is also known as the Battle of Hastings. The most obvious change after this battle was the introduction of Anglo-Norman as the language of ruling classes in England, displacing old English.

The Hundred Years' War alienation towards France resulted in increased use of English, with French only surviving in Parliament and law. The earliest play entirely in French, Le Mystere D' Adam is Anglo-Norman.

A Few other plays belonging to Anglo-Norman literature are given below

Le Jeu d'Adam (The Play of Adam)

It is an Anglo-Norman play composed around 11th-12th century. This semi liturgical play is written in old French. Like the English Mystery Plays (or Cycle Plays), it is a dramatic representation of stories from the Bible (both old and new Testaments). The play is based on the Latin responses of the Septuagesima mass, which recount the Creation, Temptation and Fall of Adam and Eve and the story of Cain and Abel. It dramatises the fall of Adam and Eve in the garden of Eden and the story of their sons, Cain and Abel. The play has also been seen as a precursor to old French farce.

Seinte Resurreccion (Resurrection of the Saviour)

It is a 12th century incomplete play written in the Anglo-Norman dialect. The play deals with the burial and Resurrection of Christ. The play's style is related to the historical realism of late medieval passion plays. Only 522 lines of the play remain with us as a fragment.

Le Jeu de Saint Nicholas (The Play of St Nicholas)

It is a Miracle Play by Jean Bodel. It was performed in 1201. It is an important transitional work, which combines elements of traditional miracle play with secular elements. The play concerns a pagan Saracen King, who hears that Christians have invaded his land. The King then consults his idol, Tervagan about his future. In response, Tervagan both laughs and cries. The king, then wages war with the Christians and massacres them.

The lone survivor, Preudom is imprisoned. He prays before the statue of St Nicholas. The King questions Preudom about the powers of his idol. In reply, Preudom claims that the saint's powers can help in recovering one's lost possessions.

The King, then, wishes to test the power of the claim and keeps the statue in his treasure. Three thieves, however, steal the King's treasure. Enraged at Preudom, the King sentences him to death. Preudom, then prays to the saint, who, in turn, visits the thieves and persuades them to return the treasure.

On finding his lost treasure, the pagan King releases Preudom from captivity and converts himself to Christianity. The idol of Tervagan is smashed and the entire court gets converted to Christianity. Le Jeu de Saint Nicolas is also of importance for its introduction of comic scenes based on contemporary life and is one of the first Latin school dramas to be translated into the vernacular.