THE RELATION OF THE CORPUS CHRISTI PROCESSION 
TO THE CORPUS CHRISTI PLAY IN ENGLAND 
Merle Pierson 
Introduction 
One of the theories concerning the rise of the vernacular drama 
in England traces the development of the Corpus Christi play 
from the Corpus Christi procession. The supposed evolution 
of the one from the other has been described by Mr. Davidson 
(Studies in the English Mystery Plays 9 p. 93) as follows: 
It seems, then, that shortly after the confirmation of Corpus Christi 
in 1318, pageants of the Biblical story were introduced in conjunction 
with the banners of the crafts. These at first were mute mysteries 
expressed by action. Indeed, connected pantomimic action would seem 
impossible in a moving procession; therefore this custom may be older 
than the spoken drama. In a short time, however, spoken drama, 
. . . became an established custom in England. A spoken drama 
necessitated frequent halts by the procession, as it was impossible to 
act satisfactorily in motion. These halts prolonged the procession be¬ 
yond reasonable limit, and were avoided by transferring the pageants 
to the rear of the procession. A division of the procession immediately 
arose through the slower movement of the pageants, but the plays, 
though much belated, followed the traditional course of the procession 
through the city. 
On the basis of this statement five stages in the development 
of the Corpus Christi pageant, from the Corpus Christi proces¬ 
sion might be assumed: 
I. Crafts merely marching in the procession. 
II. Crafts with banners in the procession. 
III. Mute Mysteries. 
YL Spoken drama in the procession. 
V. Separation of the plays from the procession. 
