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Poeta re-enters to "mak a conclusyon" of this first station, and again the stage direction "daunce" has been written in a later hand. In the next station, on the road to Damascus, God , amidst thunder and lightning, visits Saul and rebukes him for persecuting His followers and tells him to enter Damascus. When the visitation is over Saul finds that he is blind and lame. God also visits Ananias , an inhabitant of Damscus, and tells him to go and cure Saul, assuring him that from now on Saul will advance, rather than persecute, Christianity.

In the third station Saul's knights have returned to Jerusalem, [2] where they tell an angry Caypha and Anna of Paul's conversion to and preaching of Christianity. At this point three leaves have been inserted in a different hand. They make up a comic scene between the demon Belial whose first line is "the usual Satanic exclamation of the mystery writers 'Ho ho'" [1] and his messenger, named Mercury.

Again, Joseph Quincy Adams believes this has been included to make the play more exciting. The interpolated text also contains material that could be seen as anti-Semitic and which is not mirrored in the main text — Belial claims that he is worshipped "In the temples and synogoges" and that Caypha and Anna are his "prelates" and are planning to persecute Saul on his suggestion. The play proper resumes with Saul the play does not include his renaming as Paul , now dressed as a disciple of Jesus, delivering to the audience a rather lengthy sermon on the Seven Deadly Sins.

Saul is taken to Caypha and Anna, who order the gates of the city to be locked that they might kill him shortly. However, an angel appears and tells Saul that he will not die yet, and that a place for him in heaven is assured. Saul's escape from the city in a basket is described, not staged. The play ends with Poeta inviting the audience to sing the hymn Exultet caelum laudibus.

While Scherb praises the swift ending and finds its reliance on words rather than images appropriate to the play's thematic focus on faith and the movement from iconography to rhetoric, [4] Coldewey simply finds it abrupt. Though critics sometimes write of a "Digby playwright" particularly when examining the Conversion alongside the Mary Magdalene , the other surviving English Saint play derived from the New Testament , the pieces are in fact independent; [5] though the plays' first modern editor, Thomas Sharp, sees in the Conversion "a considerable resemblance in general structure and composition to [ The Digby Massacre of the Innocents ]" [1] The plays date from the late fifteenth century and have a transcription date of on the first page.

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Adams believed the play to have been written by an author from the East Midlands , to be performed at stations in a small village on 25 January, that being the Festival of the Conversion of St. Kinghorn has it that the play was performed in a fixed locality and was the responsibility, not of the town's guilds, but of the church; [6] Glynne Wickham , citing the text's many apologies for its "simpleness", argued that the play, in its final form at any rate, belonged "to a Guild of artisans who were willing to travel and to adapt their script and presentation to the environment offered by their sponsors and hosts in exchange for hospitality and a small fee" and thus, while the Digby plays may have originated, like the so-called Macro plays — The Castle of Perseverance , Mankind , and Wisdom —, in or near Bury St Edmunds in East Anglia , [8] they were able to migrate to Chelmsford in the 16th century.

Furnivall could see little in the play that pointed to a specific dialect, other than a few instances that inclined him more to a Midlands dialect than anything else. The interpolations to the original text the marginal "daunce" stage directions and the three leaves containing the scene between the devils seem to come from an early sixteenth-century revival of the piece, and were possibly the work of a man named Myles Blomfylde whose exact identity is unclear , who may have played the role of Poeta. The play was not much admired by its 19th- and early 20th-century editors: Furnivall wrote that it and the Digby mysteries as a whole pointed to "the decay of the old religious Drama in England" [7] and Manly found it "uninteresting" and of only historical value.

Scoville, however, it is just this sermon, rather than Saul's actual conversion, that is at the heart of the play. The audience, which is made to be more directly involved in this than in perhaps any other Middle English play, must both physically and rhetorically reconfigure itself constantly to engage with the scenes played before it. The play's earliest editors all agreed the original production would have been of the processional sort, with a wagon travelling between three different stations to perform the three scenes of the play, and the audience following, rather as they would performing the Stations of the Cross.

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Staging Faith: East Anglian Drama in the Later Middle Ages by Victor I. Scherb (review)

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