By Tennessee Williams

Christmas 1982: Cornelius and Bella McCorkle of Pascagoula, Mississippi, go back domestic one dead night in a thunderstorm from the Memphis funeral in their older son to a home and a existence actually falling apart--daughter Joanie is in an insane asylum and their more youthful son Charlie is upstairs having intercourse along with his pregnant, holy-roller female friend because the McCorkles input. Cornelius, who has political objectives and a litany of illnesses, is making an attempt to discover a large number of moonshine funds his mild spouse Bella has hidden someplace of their collapsing condo, yet his noisy efforts are disrupted through a movement of exceptional characters, either residing and dead.

While Williams frequently used drama to show wish and desperation in human hearts, it was once via this darkish, expressionistic comedy, which he referred to as a "Southern gothic spook sonata," that he used to be most sensible in a position to chronicle his imaginative and prescient of the delicate kingdom of our global.

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A more substantial corrective arrived with the publication of William Tydeman's The Theatre in the Middle Ages (1978 [2^]); but still the resources of eastern Europe remained unexplored. Having had the good fortune myself to visit Poland on several occasions between 1965 and 1975,1 am aware of the work being done on Corpus Christi and other religious plays in that troubled country, and most of us are aware that drama flourished, at least from the thirteenth century onwards, both to the north-east in Livonia and to the south in Hungary and Bohemia; yet few of us know where or how to gain access to the results of this research.

In other words, the effort and skills needed to recover the visual iconography and the musical factors which originally accompanied both the devising and execution of these plays have led scholars to devote far more time and energy in recent years to the dramatic and theatrical, rather than strictly literary, qualities of these plays. The truth of this proposition becomes apparent on even the most cursory perusal of recently published bibliographies. Richard Southern's The Medieval Theatre in the Round (1957 [^2]), T.

Such an observation, obvious as it is, points to one C. Clifford Flanigan of the greatest sources of misinformation and misunderstanding in the study of medieval Latin drama: because students of literature are convinced that they are dealing with literary texts, they often fail to accord detailed attention to liturgical studies. This neglect has led to unsubstantiated speculation and widespread and often uncritically repeated misinformation. 7 Though from the perspective of a decade and a half I recognise many oversimplifications, I nonetheless offer my own early attempt to study the relationship between the Quern quaeritis trope and the Visitatio Sepulchri as a possible example of drama scholarship which takes liturgiology seriously (1974 [61]).

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