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192 LITURGICAL DRAMA
(What are these communications that ye have one to another, as ye walk, and
are sad, alleluia? Art thou only a stranger in Jerusalem, and hast not known the
things which are come to pass there in these days, alleluia? What things? Con
cerning Jesus of Nazareth, which was a prophet mighty in deed and word before
God and all the people, alleluia.)
But the sentences in which the disciples invite the stranger to stay
with them at the inn are found neither in the Vulgate nor in the service
books. Both words and music seem to represent free composition.
Again the chorus intervenes. Verse 30, describing the blessing and
breaking of the bread, is sung in its antiphon form, while the action
takes place in dumb-show. A rubric then directs that Jesus shall
vanish from sight. The astonishment of the disciples is expressed
partly by the antiphon 'Did not our hearts burn within us' (v. 32),
partly by newly invented phrases. A liberty is now taken with the
Gospel account. Jesus reappears at the same spot and reassures the
two in phrases from verses 36 and 39. Liturgical music was available
for these words, but in this case a new setting seems to have been
invented. Finally, the disciples sing the familiar antiphon 'Surrexit
Dominus de sepulchro *.
This version has been given in some detail since it fairly illustrates
the technique of these dramas. In all there is a proportion of antiphon
material. A thirteenth-century example from Munich, 1 consisting of
the Emmaus scene and the incredulity of Thomas, actually draws the
whole of its material, words and music, from the service books. In
the more ambitious versions there is a much greater proportion of
originality and a certain amount of versification. A thirteenth-century
single-scene example from Rouen 2 cathedral is of interest, mainly for
its generous rubrics. The gestures and movements of the actors are
carefully described. The disciples have purses and staves, while Jesus
wears an alb and holds a cross. Mary Magdalen is also represented,
clad 'in modum mulieris'. The dwelling at Emmaus is a special con
struction erected in the nave, containing a table. Jesus and the two
disciples enter by two different doors at the west end of the church,
and their path to the structure represents the road to Emmaus.
Space does not permit attention to other versions, several of which
are more satisfactory dramatically and musically. 8 We shall deal in
detail only with the Peregrinus from the famous Fleury play-book. 4
The first meeting in Jerusalem is here a separate episode, Thomas's
1
Munich, Staatsbibl. lat. 46600, fo. vii-vii T .
*
Rouen, BibL de la Ville 222, fo. 43^-45.
*
For example, a twelfth-century text from Beauvais (Paris, Bibl. Nat., nouv. acq.
lat. 1064, fo. 8-11*).
4 Orleans, BibL de la Ville 201, pp. 225-30 (thirteenth century).