Untitled

THE EASTER SEPULCHRE DRAMA 189
the hint created a part for alius mercator, who assists in the bargain
ing. Here is the first sign of the '
apprentice' who was later in medieval
drama to become a comic figure. Much material that follows can also
be found in the Fleury and Dublin versions. The succeeding scene at
the Sepulchre is frankly a jumble and contains some unnecessary
repetition. The '
Quern quaeritis* section has apparently been lifted
from Madrid 132 or some similar source, followed by material which
seems to be original.
A long Magdalen lament follows, found nowhere else, and the
setting is worthy of note by reason of its construction. The text is
written in irregular verse-form and merges finally into the well-known
medieval prose, *O quam magno dies ista celebranda gaudio*, to its
usual setting. It then becomes apparent that the music of the rest of
the verses has been founded on this tune, anticipating and fore
shadowing its appearance an interesting and unusual device. Then
come passages founded on material from the Fleury and Rouen ver
sions, including a momentary appearance of Jesus, which appears to
be misplaced. At the end of this scene comes the break in the manu
script. When it resumes, Peter is questioning Mary Magdalen, the
music, strangely enough, belonging to * O quam magno*. Later, Jesus
enters to his disciples and the scene of the incredulity of Thomas
begins. This particular incident is usually found in the type of Easter
season drama known as Peregrinus (the scene of the journey to
Emmaus). Most of the material of this part of the Tours version can
be paralleled in examples of French origin, of earlier date than the
Tours manuscript. The drama then ends conventionally enough with
the usual adaptation of *
Victimae paschali*.
Lastly, some mention must be made of the 'Shrewsbury Frag
ments % an Engjish manuscript still preserved in the library of Shrews
bury School. 1 It consists not ofa single Church play, but a single actor's
part, complete with cues, for three of them the Visitatio Sepulckri,
the Peregrinus, and the Pastores (the Shepherds at the Manger). These
dramas may have been concerned with the diocese of Lichfield in the
thirteenth or fourteenth century. The actor is the third of the Marys
and the Shepherds, and Qeopas of the Peregrinus. While there are
Latin passages in the texts which are familiar, the plays show a tradi
tional stage, and consist largely of verses in the vernacular, a northern
English dialect. The Easter play has, very little music, and this in
4
measured' notation, the passages ('Jam, jam, ecce* and 'Quis
revolvet') apparently being sung in three-part harmony.
1
Shrewsbury School Library, \d (Mus. iiL 42), fo. 38-42\