ABSTRACT
V.A.Kolvé, whose book on the mystery plays, The Play Called Corpus Christi, did so much to initiate interest in the relationship between ‘dramatic’ texts and religious practices, gives us the following citation:
A post-Reformation copy of the Banns to the Chester plays included in Roger’s Breviary of 1609, advertises a performance very different from those of the Middle Ages. God will not be acted, it says; only a voice will be heard speaking His lines, for no man can ‘proportion’ to the Godhead.1
