It is extremely interesting to follow out some of the details of the management of these Mystery Plays. We shall find in even the meagre accounts that we have of them, sufficient to show us that men were not expected to work for nothing, nor even to be satisfied with what compensation there might be in the honor of being chosen for certain parts, nor in the special banquets that were provided for the actors after the performances. A definite salary was paid to each of the actors according to the importance of the part he took. Not only this, but the loans of garments for costume purposes, or of furniture or other material for stage properties, was repaid by definite sums of money. These are not large, but, considering the buying power of money at that time and the wages paid workmen, which enabled them to live at least as well, comparatively, as modern workmen, the compensation is ample. Mr. Morley, in the fourth volume of his "English Writers," has given us some of these details and as they have a special social interest and the old documents rejoice in a comic literalness of statement, they deserve citation.
When about to set up a play, each guild chose for itself a competent manager, to whom it gave the rule of the pageant, and voted a fixed sum for its expenses. The play-book and the standing wardrobe and other properties were handed over to him, and he was accountable, of course, for their return after the close of the performances. The manager had to appoint his actors, to give them their several parts written out for them (perhaps by the prompter, who was a regular official), and to see to the rehearsals, of which there would be two for an old play and at least five for a new one.
At rehearsal time, as well as during the great performance the actors ate and drank at the cost of the guild, ending all with a supper, at which they had roast beef and roast goose, with wine for the chiefs, and beer for the rest. The actors were paid, of course, according to the length of their parts and quantity of business in them, not their dignity. Thus in a play setting forth the Trial and Crucifixion of our Lord, the actors of Herod and Caiaphas received each 3s. 4d.; { 248} the representative of Annas, 2s. 2d.; and of Christ 2s.; which was also the sum paid to each actor in the parts of His executioners, and 6d. more than was paid for acting the Devil or Judas. In the united plays of the "Descent into Hell" and the "Ascension," the payment was to the actor who represented Christ, 1s. 6d.; and 1s. 4d. to him who played the Devil. In one play we find this gradation of the scale of payment to performers:--"Paid, for playing of Peter, xvid.; to two damsels, xiid.; to the demon, vid.; to Fawston for hanging Judas, ivd.; paid to Fawston for cock-crowing, ivd."