Researchers at Cambridge University have uncovered evidence of a medieval English comedy performance hidden within a 15th‑century manuscript, a discovery that broadens our understanding of early dramatic expression. The finding, detailed in a recent scholarly article, brings fresh light to the lively, improvisational humor that circulated across medieval Europe and suggests that such performances could have been more widespread than previously thought. The study situates these comic pieces within a broader tradition of oral storytelling, singing, and playful rhetoric that thrived in courts, markets, and local gatherings, revealing how humor functioned as social glue in a world long fascinated by wit and wordplay.
Across the Middle Ages, itinerant performers—minstrels—moved from fairgrounds to taverns, from noble halls to village squares, captivating audiences with songs, jokes, and quick retorts. Although many comic stories from that era survive, attributions are often murky, because the speech frequently contains sharp jests and coarse humor that can complicate scholarly judgments about authorship. The new manuscript adds a concrete, signed voice to this tradition, helping scholars trace how a performer’s personality and timing could turn a simple tale into a memorable, crowd‑pleasing moment. This glimpse into the daily life of medieval entertainers echoes broader questions about how communities used humor to navigate power, identity, and social change in a world without printed newspapers or broadcast media.
The core discovery centers on a signed note in the National Library of Scotland, tied to a performer named Richard Hegge. The caption reads, “I, Richard Hegge, because I was at that banquet and I didn’t drink,” offering a rare firsthand anchor to a performer who reportedly contributed several pieces to this collection. The manuscript comprises three of the nine text items attributed to Hegge, including a burlesque tale known as “The Rabbit Hunt,” a parodic prose sermon, and a comic verse titled “The Battle of Braconwet.” These works illuminate how medieval humor blended satire, reverence, and irreverence in ways that could entertain diverse audiences while inviting lively interpretation by listeners and readers alike. The presence of these pieces within the manuscript supports the interpretation that the material was intended to be performed aloud, with actors inviting the audience to listen closely, respond with laughter, or even request a drink to keep the performance going. The result is a vivid portrait of a dynamic, performer‑centered culture where jokes, timing, and audience interaction shaped the very texture of the entertainment experience, offering contemporary readers a rare window into the immediacy of medieval stagecraft. The significance is not merely historical; it also reveals a remarkably early form of what modern audiences would recognize as stand‑up comedy—an art of observation, social critique, and quick repartee that could illuminate the daily lives of ordinary people as well as the ambitions of the powerful. This combination of signed attribution and performative intent makes the project a singular find, one that captivates scholars and general readers alike with its authentic, human voice from centuries past.