Charles Davidson — English Mystery Plays. 



163 



Einsiedeln, XIII century. 



CHORUS alta voce : 

 Te Deum laudamus 



Orleans, XIII century. 



SECUNDA [maRIA JACOBI] : 



Ducitur de tenelDris turba piortim, 



TERTIA [mARIA SALOME] : 



Reseratur aditus regni ccelorum ! 



Interea is, qui ante fuit Hortulanus, 

 in similitudinem Domini veniat dalmat- 

 icatus Candida dalmatica, Candida in- 

 fula infulatus, phylacteria pretiosa in 

 capite, crucem cum labaro in dextra, 

 textum auro paratorium in sinistra 

 habens, et dicat mulieribus : 

 Nolito timere vos : ito, iiunciate fratri- 

 bus meis, ut eant in Galilseam : ibi me 

 videbunt, sicut prsedixi eis. 



CHORUS : 



Alleluia, resurrexit bodie dominus ! 



Quo finito, dicant omnes [mari^J 



insimul : 



Leo fortis, Cbristus, filius dei ! 



Et CHORUS dicat : 

 Te Deum laudamus ! 



We note the following extensions in E and O, as shown by com- 

 parison with Group I : 



a. The song during the progress to the tomb. A song, but of very 



different character, introduces A only in Group I. 



b. Situation of replying angel in O, "foris ad caput sepulchri,'" 



while in D, Group I, " debet esse retro sepulchrum." 



c. In O, '' Why do you seek the living among the dead?" — an 



extension from Luke 24. 5. 



d. In O, the lines beginning, '' Mementote," etc. 



e. In E and O, the short song of the women. 



f. In O, the episode of Mary Magdalene's lamentation. 



g. In O, the running of Peter and John, their entering the tomb, 



and the discussion of the meaning of their discovery. Note 

 that the running in E is out of place and lacks dramatic 

 motive. 



1 The position is significant. In Mont St. Michel it is ' super altare ;' in Rouen, 'ante 

 sepulchrum ;' in Sens, ' Puor, in vestitu angelico sedens super pulpitum a cornu altaris 

 sinistro.' Therefore in these French plays is recorded the appeai*ance of a stage or 

 platform for the church play. 



