Guide The Horatio Code: The Confession of 1623 (The Truth Will Out)

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The dead body is carried away. Is there no offence in 't? Marry, how? Didst perceive? Come, some music! What then? O bosom black as death! Help, angels!

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Make assay! The Queen's closet.

I'll sconce me even here. Dead, for a ducat, dead! Have you eyes? What would your gracious figure? O, say! Whereon do you look? Look you, how pale he glares! So, again, good night. How does Hamlet? Where is he gone? I pray you, haste in this.

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O, come away! Another room in the castle. Lord Hamlet! Hide fox, and all after. Farewell, dear mother.


Come, for England! A plain in Denmark. You know the rendezvous. I humbly thank you, sir. God be at your table! Let them guard the door.

Sirs, stand you all without. O rose of May! God be wi' ye. Are all the rest come back?

Hamlet Prince of Denmark

O, where? A churchyard. Not only one mansion but several mansions were built in the nave of the Church. This variety of mansions were defined around the Heaven and Hellmouth. The Hellmouth was the most elaborated monstruous faces that symbolize the gate to Hell. One important fact of this miracles is the scenes to the point that technically can be defined as one scene-play obras de una sola escena. Episodic: this magic of the miracles gave the opportunity to spectators to see episodes that happened before following episodes.

The mansion had spiritual and allegorical settings.

the horatio code the confession of the truth will out Manual

It was turned into allegorical places. The magic of theatre made the spectators to think that the performance was real.

The purpose of these miracles was to dramatize one thing as the most important the salvation of Humanity. People who atended miracles started to appreciate the show and the entertainment more than the religious teaching. These elements bite the didactic intention of the Church and it removed a presentation of the Church building from itself.

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They started to be representated in the squares of towns. In the 13th century even if the mansions were transferid to the squares of towns, the presentation of miracles became to be more secular although the religious sense was kept. By the 14th century, the production of plays were the Corpus Christi 40 episodes. The performance is outdoors from Church.


The demand for entertainment and spectacles converted the performance in 40 episodes. The season of Corpus Christi isa t the beginning of good weather. These episodes were produced by the comunity every four or five years. The productions might take from days to a month. Mysteries were the production of one festivity, one of them related to Corpus Christi. By now, liturgical theatre had a long process till religious theatre in the Church. In the late 14th century liturgical drama went out of the Church and performances started to be represented in town squares in sequences, one scene after the other.

The misterios were sequences or cicles of miracles. They multiplied in cicles that came to us in 40 episodes. They were produced by the community; secondly they were performed in special celebrations. They were performed with economic and social efforts. The performance of all those elements of misteries took days. The fourth characteristic is that the production of each play was assigned to a guild. The 14th century in literacy was epidemia. The texts were written in a very repetitive way of verse.

Finally, the playwrites were annonymous. The texts are very easy to be memorizad.