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Updated: May 19, 2025
It is said to have been first written by Eutychianus, who had been a pupil of Theophilus, and who tells the story partly as an eyewitness, partly from the narration of his master. The nun Hroswitha first treated it dramatically in the latter half of the tenth century. Some four hundred years later Rutebeuf made it the theme of a French miracle-play.
The gradual movement in the Church towards elaboration in its services which began in the ninth century, a movement which led to the dramatising of the Mass, out of which the liturgical drama, and eventually the miracle-play, were evolved, was a popular movement. To a people ignorant of Latin, yet fond of shows, it provided instruction and diversion alike.
Previous to that date, two main movements are discernible in French dramatic art one carrying on the medieval traditions of the mystery-and miracle-play, and culminating, early in the seventeenth century, with the rough, vigorous and popular drama of Hardy; and the other, originating with the writers of the Renaissance, and leading to the production of a number of learned and literary plays, composed in strict imitation of the tragedies of Seneca, plays of which the typical representative is the Cléopâtre of Jodelle.
We had scarcely returned when a large company of Chinamen, carrying bannerets and joss-sticks, came to the Residency to give a spectacle or miracle-play, the first part consisting of a representation of a huge dragon, which kicked, and jumped, and crawled, and bellowed in a manner totally unworthy of that ancient and splendid myth; and the second, of a fierce melee, or succession of combats with spears, shields, and battle-axes.
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