Bringing Religion to the Masses pt. IV

Finally, Christ Before Pilate (1): The Dream of Pilate’s Wife illustrates another usage of the social satire and commentary for religious instruction. Whereas The Killing of Abel used anachronistic treatment to criticize corruption within the Church concerning tithing, as well as warn against the dangers of allowing blasphemy to go too far, along with the plays concerning Christ’s Coming, encouraged the medievals to believe in the magic that surrounded Catholic faith. Christ Before Pilate satirizes the aristocracy of the day with the intent of teaching against idleness.
Though he symbolically washes his hands of the guilt for Jesus’ crucifixion, it is Pilate who condemns Jesus and therefore responsible for his death. Throughout the play though, the audience finds Pilate to be rather hesitant towards condemning Christ, who repeatedly states that he finds no guilt with the man Annas and Caiphas have brought. It is Pilate’s position and aristocratic characterization, though, which ultimately leads to his sentencing of Christ. Throughout the play Pilate and his wife, either by their words or actions, are painted distinctively as Yorkshire aristocrats. The play opens with Pilate telling the audience to be quiet while he speaks and declares his prominence as Pontius. He is insecure about his power since, as an aristocrat with no real abilities, he relies on the support and strength of others. Further, the first 156 lines of the play are devoted towards Pilate’s lofty speech and interactions with his wife, their sleeping habits, and furniture. The audience witnesses his overall inaction and uselessness other than to spend money and enjoy nice things, aspects distinctively associated with medieval aristocrats. Again, though he finds no guilt in Jesus, when Annas and Caiphas threaten his power and standing in the minds of the Jews if he does not condemn Jesus, Pilate gives in to their requests.
The audience finds in Pilate a wealthy person who is completely idle and reliant on the strength of others to maintain his position and affluence. Ultimately, the audience also finds that because of his weakness and idleness he is easily swayed, and he ends up sentencing the Son of God to death. This is an extremely bold statement made by the playwright who uses this portrayal to satirize the contemporary aristocracy, going as far as to suggest that they, too, would crucify Christ. Further, in illustrating wealth and idleness as the forerunners of evil, the playwright encourages the audience to work hard and appreciate their middle and lower-class standing, for it’s the labourers who truly will benefit from Christ’s sacrifice, not the wealthy and powerful.
Through the anachronistic treatment of Biblical events and people, the playwrights of the English mystery plays made the Bible more accessible to the people than offered by the Catholic Church, as well as satirizing the Church and the powerful of the day. The cycles presented Scriptural stories and characters to the medievals in relevant and illuminating ways, all the while encouraging them to be good and faithful labourers through both a portrayal of what a good Christian was as well as what a good Christian was not.