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202 LITURGICAL DRAMA
*
depart another way '
. Between the Nevers example and a version from
Compiegne, 1 also of the eleventh century, there may be an evolution
ary gap, for in the latter Herod's court suddenly comes to life, and
the drama is considerably extended. A nuntius questions the Magi and
reports to Herod. Several of these newly composed sentences go into
the pool, as it were, for later use. The Mag/-Herod encounter is very
close to that of Nevers. Then occurs another new scene which also
becomes common property, in which Herod tells his courtiers to
summon the scribes, who appear and relate prophecies concerning
the Coming. Herod sends the Magi away with sentences already en
countered, but they sing newly composed verses on their way to the
manger. Here the usual scene occurs, in the usual terms. The action
then returns to Herod's court, where a messenger warns hinr/Delu-
sus es, Domine; magi viam redierunt aliam' (Sire, thou art deceived;
the Magi have returned by another way) an invention of the play
wright. Armiger then makes his cruel suggestion, to which Herod
assents. An antiphon (' Suffer little children') sung by an angel con
cludes the drama, which has shown a great deal of original material.
Only
brief reference need be made to a number of versions
which further expand the Herod episode. The court rather than the
crib is becoming the centre of interest. Some outstanding points may
be mentioned. In a Strasbourg manuscript 2 we encounter a verse
clearly imitated from Virgil, while another of Herod's sentences
comes direct from Sallust. 3 A Rouen example 4 shows two of the
Magi replying to Herod in a gibberish intended to represent an
outlandish tongue. We also meet Archelaus, Herod's son, for the
first time, and see the drama concluded with a flourishing of swords.
A version from Bilsen 5 in Belgium has three separate messengers, one
of them in his eagerness to report calling out: 'Rex, rex, rex' a
delightfully vivid touch. The Magi are greeted very curtly, and unlike
their treatment in other versions, where they are sometimes given
seats and a ceremonial kiss, they are here dragged off to prison.
Altogether this version livens the dramatic note considerably. A fine
treatment of the subject in the Fleury play-book 6 shows a good deal
of the originality we have come to expect. A useful feature is its
wealth of rubrics. The star is mobile, travelling overhead from the
1
Paris, Bibl. Nat. lat. 16819, fo. 49-49 v .
3
London, Brit. Mus., Add. 23922, fo. 8Ml (thirteenth century).
3
Cf. Young, Drama of the Medieval Church, ii, pp. 67-68.
4
Montpellier, Bibl. Univ., H. 304, fo. 41 v-42- (twelfth century).
8
Brussels, Bibl. des Bollandistes 299, fo. 179M80- (twelfth century).
6
Orleans, Bibl. de la Ville 201, pp. 205-14 (thirteenth century).