Layne Bolden
The York Crucifixion displays an
approach to drama that runs contrary to the modern-day conception of theatre. Instead
of revolving around plot, it centers on the characters who perform a set of
actions that make clear statement that the audience can relate to their own
lives. This play features a set of workmen whose job it is to crucify Jesus,
and by simply going about their work as if it were another ordinary day, they
miss the significance of their actions. As a morality play, the author designed
this sequence of events to make the audience consider how they disregard the
work of God in their own day-to-day lives.
Even
though the play requires five actors, there are, in reality, only two distinct
characters. The four soldiers can be thought of as one character, since they
all display the same sentiments and attitudes, never once distinguishing
themselves from one another. Jesus himself does not even make much of an
appearance; he only has two speeches throughout the play. The soldiers’
rambling conversation provides the backbone of the work, and it is through the
juxtaposition of their words and their actions that should cause the audience
to think. Though no real character development takes place, analyzing the character
of the soldiers should provide the audience with a moral lesson. In order for
the audience to realize that they often do not pay attention to the
significance of their actions, they must first see themselves in the character
of the soldiers. The play upholds the idea of noticing when the things you do
are important, especially within a religious context. Purposefully, the actions
of the soldiers run contrary to this. Not particularly malicious or vengeful,
the soldiers are simply going about their daily routine. Though they do not
intend to operate unaware of their actions and the consequences of those
actions, their ignorance comes precisely as a result of their slipping blindly
into such a routine. The soldiers themselves do not seem to hold any morals
other than finishing the job; this lack of morality or immorality also
contributes to the play’s discussion of apathy.
The
author’s condemnation of such apathy and blindness comes, as might be expected,
through one of the speeches given by Jesus. At the very end of the play, Jesus
states: “…My Father, that all bales may beet, forgive these men that do me
pine. What they work wot they nought; therefore, my Father, I crave, let never
their sins be sought. But see their souls to save…” (259-265). Here, Jesus asks
God, his father, to forgive the soldiers who are causing him to suffer, because
they do not know what they are doing. The author has taken a biblical
reference, “forgive them, for they know not what they do,” and used it
ironically, because the soldiers do not only have no idea of the eternal
repercussions of their actions, they show no emotion about their job at all. They
approach their entire lives with a dismissive and casual attitude. In fact,
they respond to Jesus’ grace-filled declaration by saying, “We! Hark! He
jangles like a jay. Methink he patters like a pie. He has been doing so all
day, and made great moving of mercy…” (265-269). The soldiers, barely listening
to Jesus, compare his speech to the clamoring of birds. Though at the very end
of the play, they begin to wonder about Jesus’ identity and his reasons for
submitting to his fate, they end the play by dividing up Jesus’ limbs, still
acting as if their actions hold no special significance. Ultimately, they do
not change at all.
As
a morality play, The York Crucifixion
was written to teach its audience something. Here, by providing a negative
example in the form of the soldiers, the author encourages people to refuse to live
their lives mindlessly, not thinking about what they are doing or the
repercussions of their actions. Instead, one should be mindful and purposeful
when making choices and performing daily tasks, even if that task may be a
seemingly dull part of a routine. That way, there is less of a chance of
crucifying Jesus without even realizing it.
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