Untitled

186 LITURGICAL DRAMA
blunting the dramatic results. The more striking situations, however,
such as Mary's recognition of the Gardener, remained in prose. In
the Fleury example nearly thirty lines of verse occupy the Marys in
their journey to the Sepulchre, including a lament, beginning:
Ex.. 63 (I)
Heu, pi-us pas-tor oc-ci-dit, queni cul-pa nul-la in-fe-ci.t. res plan-gen- da.
Ex. 63(10
oc- ci .
-la in - fe - cit. O ^ " '
dit, quern cul- pa
res plan- gen
- da
(Alas, the Good Shepherd is slain, whom no guilt stained. O mournful event!)
The remaining examples
*
of the third stage' all German and
belonging to the thirteenth and fourteenth centuries represent varia
tions of one general plan. Versification, mainly in ten-syllable lines,
is even more marked. The core is the revised *
Quern quaeritis'
dialogue (with some familiar succeeding antiphons), but the remain
ing dramatic situations are met by six groups of verses, found with
some variations and omissions in each of the dramas. These stanzas
deal with (1) the lament of the Marys, (2) the prayer of the Marys
and the decision to buy ointment, (3) the buying of the ointment
4
( Merchant Scene*), (4) the lament of Mary Magdalen at the
Sepulchre, (5) Christ's words to Mary Magdalen, (6) Mary's
announcement to the disciples and the other Marys. 1 To each of these
groups was attached a particular stanza-melody. These melodies, with
some degree of variation, were used by all the versions. In general
they are rather more ornamental and thus probably less effective
dramatically than any before met, e.g. in the scene between Mary and
the risen Christ (Cividale version) :
1 Some of the manuscripts containing these are as follows: Einsiedeln 300, Kloster-
neuburg 574, Munich 4660a, Rheinau 18, Nuremberg 22923, Cividale Cl, Engelberg
314, Prague Univ. Lib. VI G. 3b. They probably all derived from a prototype,
composed perhaps at Klosterneuburg.