98 UNIVERSITY OF COLORADO STUDIES 
probably a rendering of the great “Dies irae,” most familiar to us in 
modern times in Sir Walter Scott and Mozart. This passage is followed 
immediately by Christ’s Testament. Almost all of the remaining por- 
tions of the Towneley Judgment are adaptations of satires on various 
subjects, mainly on women.? While taken collectively, the English 
judgment-plays seem to be the adaptation of the Doomsday dialogue 
between Christ and the good and bad souls to dramatic purposes. Towne- 
ley is very largely homiletic in its tone, and but for the previous develop- 
ment of the Middle English sermons in prose and verse could never have 
taken on its present form. 
This is scarcely the place to call attention to the relation of the drama 
to other forms of Middle English poetry whose character is not in some 
sense lyrical. It is going somewhat out of the way to notice, for example, 
the similarity between the grotesque meal of the shepherds in the Towne- 
ley Shepherd’s Play, No. I3 and the Grotesque Receipts,+ between the 
speech of Death in The Slaughter of the Innocents’ and The Dance of 
Death of Lydgate, between the Geography in Verse® and the Hegge play 
of The Temptation;? between The Fifteen Signs of Judgment in the 
Chester play Ezechiel and the treatment of thesame theme in non-dramatic 
verse ;® and finally between the various Creeds, Pater Nosters, Ten 
Commandments, and other themes of a somewhat similar nature, treated 
in the general poetry of the time and the drama as well. 
Leaving out of consideration these last-mentioned forms, it is apparent 
even from the hasty consideration of the lyrical forms given above, and 
it will be still more apparent after the more careful consideration of that 
t See above, p. 96. 
aI hope to publish very shortly a paper on the subject of the influence of the satire of the day upon the 
Corpus Christi plays. 
3 See also, Chester, Vol. 1, pp. 110 ff. 
4 Anglia, Vol. XVIII, p. 205; Vol. XXVI, p. 270; Rel. Ant., Vol. I, pp. 51, 56, 81, 239, 250, 325; Bann. 
MS, Vol. Il, pp. 388, 402 ff.; Songs and Carols (Percy Soc., Vol. XXIII), p. 23. See Appendix, p. 34, for 
parallel passages. 
s The Coventry Mysteries, pp. 84 ff.; cf. Chester, Vol. I, p. 186. 
6 Rel. Ant., Vol. I, p. 271; see also The Play of the Sacrament, ll. 15 ff.; Manly, Pre-Shaks. Drama. 
Vol. I, p. 243. 
7 Pp. 210 ff. 
8 See Be Domes Daege and Other Pieces (EETS), pp. 91 ff.; Anglia, Vol. III, pp. 534 ff.; Vol. XI, pp, 
360 ff.; Miatzner’s Alteng. Sprachproben, pp. 121 ff.; Jahrbuch fiir romanische und englische Philologie, Vol. 
V, pp. 194 ff.; Paul and Braune, Vol. XI, pp. 413 ff.; R. Peiper, “‘Zur Gesch. der mittelalt. Dichtung,” in 
Arch. }. Literaturgesch., Vol. 1X, pp. 117 ff. 
