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Notes

1. Robert Potter, "The Unity of Medieval Drama," in Contexts for Early English Drama eds. Marianne G. Briscoe and John C. Coldewey (Bloomington:Indiana University Press, 1989), 46.

2. David Fowler, The Bible in Middle English Literature (Seattle: University of Washington Press, 1984), 127. Fowler states that the Bible casts Christ in diverse roles and refers to him in multiple ways.

3. Peter Travis, "The Social Body of the Dramatic Christ in Medieval England," in Early Drama to 1600,ed. Albert H. Tricomi, Acta 13 (Binghamton: State University of New York, 1987), 18.

4. Edwin G. Kaiser, C.P.P.S., Theology of Work (Westminster: The Newman Press, 1966), 47. Kaiser sees Adam's work after the fall as being essentially the same as his work before the fall. However, compare Genesis 2:15, where God places Adam in the garden "to dress it and to keep it" with Genesis 3:17-19, where thorns and thistles infiltrate the garden.

5. Peter Schoonenberg, S.J., God's World In The Making, Duquesne Studies: Theology Series 2 (Pittsburgh: Duquesne University Press, 1964), 150- 153.

6. David Meakin, Man and Work: Literature and Culture in Industrial Society (New York: Holmes and Meier Publishers, 1976), 3.

7. Arnold Pacey, The Culture of Technology (Cambridge: The MIT Press, 1983), 173.

8. George Ovitt, Jr., The Restoration of Perfection: Labor and Technology in Medieval Culture (New Brunswick: Rutgers University Press, 1987), 90-106.

9. Lynn White, Jr., "Medieval Engineering and the Sociology of Knowledge," Pacific Historical Review 44 (1975), 1-21, reprinted in Medieval Religion and Technology: Collected Essays (Berkeley:University of California Press, 1978), 331.

10. Geoffrey Chaucer, The Pardoner's Tale, in The Riverside Chaucer,ed. F. N. Robinson, 3rd edition (Boston: Houghton Mifflin Company, 1987), Prologue, ll. 444-45. I thank Allen J. Frantzen for this reference.

11. Jacques LeGoff, Time, Work, & Culture in the Middle Ages,trans. Arthur Goldhammer (Chicago: The University of Chicago Press, 1980), 117-118.

12. G. R. Owst, Literature and Pulpit in Medieval England, 2nd rev. ed. (Oxford: Basil Blackwell, 1961), 555.

13. John Gardner, The Construction of the Wakefield Cycle (Carbondale: Southern Illinois University Press, 1974), 1 10.

14. All textual references are to George England and Alfred W. Pollard, eds., The Conspiracy, in The Towneley Plays, Early English Text Society ES 71 (London: Oxford University Press, 1897).

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15. Rosemary Woolf, The English Mystery Plays (Berkeley: University of California Press, 1972), 233-234.

16. Peter Travis, Dramatic Design in the Chester Cycle (Chicago: University of Chicago Press, 1982), 175.

17. Martin Stevens, Four Middle English Mystery Cycles: Textual, Contextual, and Critical Interpretations (Princeton: Plinceton University Press, 1987), 157.

18. Pamela Sheingom, "The Visual Language of Drama," in Contexts for Early English Drama, eds. Marianne G. Briscoe and John C. Coldewey (Bloomington: Indiana University Press, 1989), 174.

19. Theodore K. Lerud, Social and Political Dimensions of the Drama (New York: Garland, 1988), 139-140.

20. Hans Kurath, ed., Middle English Dictionary (Ann Arbor: University of Michigan Press, 1954), E-F: 169-170.

21. For an example of discrimination against workers whose hands became dirty ("blue-nails"), see Gerald A. J. Hodgett, "Industry in the Middle Ages: Textiles," A Social and Economic History of Medieval Europe (London: Methuen, 1972), 139-140.

22. Woolf, 236.

23. Meditations on the Life of Christ, trans. and ed. Isa Ragusa and Rosalie B. Green (Princeton, New Jersey: Princeton University Press, 1961) 321. This information and quotation are offered by Clifford Davidson, "Space and Time in Medieval Drama: Meditations on Orientation in the Early Theater," Word, Picture, and Spectacle, ed. Clifford Davidson, EDAM Monograph Series 5 (Kalamazoo: Medieval Institute Publications, 1984), 51.

24. Richard S. Field, Fifteenth Century Woodcuts and Metalcuts (Washington: National Gallery of Art, n.d.), plates 33-36.

25. Travis, Dramatic Design , 146-147.

26. Lynn White, Jr., "Natural Science and Naturalistic Art in the Middle Ages," American Historical Review 52 (1947), 421-435, reprinted in Medieval Religion and Technology: Collected Essays (Berkeley:University of California Press, 1978), 33, n. 21.

27. Martial Rose, ed., The Wakefield Mystery Plays (New York: Norton, 1961), 418.

28. Ovitt, 62 and 215, n. 17. Ovitt is referring to Ambrose's statements in his Hexaemeron, homily I, 8, 31.