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By John A. Alford

This publication is a set of twenty-two essays by way of students within the box of Medieval Drama, normally when it comes to functionality either earlier and current. Alford wrote one essay within the e-book.

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6).  Larry Benson (Boston: Houghton Mifflin, 1987).  Victor Turner, The Anthropology of Performance (New York: PAJ Publications, 1987), 25.  See the discussion by Stuart Chase, The Power of Words (New York: Harcourt, 1954), 146. , 1979), 8.  Friedman, The Monstrous Races in Medieval Art and Thought (Cambridge: Harvard University Press, 1981).  Marcia Kupfer, "The Lost Mappamundi at Chalivoy­Milon," Speculum 66 (1991): 569.  The application of the mappa mundi would discourage the practical reading of the Castle plan provided by Richard Southern, which interprets the ditch around the playing area as a device to deny access to gate crashers (The Medieval Theater in the Round [London: Faber, 1954]).

It would appear likely that Shakespeare knew the medieval cycles from their performance at Coventry, where the mystery plays continued to be played until 1580.  Yet, even if we disregard the very probable dramatic origin of Hamlet's "out­herods Herod" and the point of reference for the meckanicals in A Midsummer Night's Dream, the influence of the popular street drama was far more important for its conceptual contributions than for any direct or even conscious applications that it might have occasioned.

For a fuller discussion, see Martin Stevens, "Intertextuality of Late Medieval Drama and Art," New Literary History 22 (1991): 317–37.  All citations are to this edition.  Kolve, The Play Called Corpus Christi (Stanford: Stanford University Press, 1966), chapter 3.  Richard Emmerson (New York: Modern Language Association, 1990), 67–78. , Das Luzerner Osterspiel [Bern: Francke, 1967], 1:84).  Translation mine. , Die Luzerner Holzbrücken (Lucerne: Räber, 1972).  (Chicago: Scott, Foresman, 1980).

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