Young—Officium Pastorum. 
307 
lam uere sciimis Xpi-stum natum in terris, 
cui canite omnes cum propheta dicentes: 
Puer natus est nobis, p salraus: Cantate Domino canticum. 1 
The chief importance of this text lies, obviously, in the sug¬ 
gestions of the rubrics as to raise en scene. 2 Two deacons 
standing behind the altar address as Pastores two cantors in 
front of the altar, who reply with the usual dramatic sentence* 
The stage-setting, then, if one may use a phrase so ambitious, 
is the altar itself, a fact that one may well try to explain. 
In the first place, since the trope Qpera quoeritis in proesepe 
is itself modeled upon the Easter trope Quern quoeritis in sep- 
ulchro, one is tempted toward the inference that the raise en 
scene before us is merely an imitation of the similar raise en 
scene shown in such texts of the Easter trope as the following 
four: 
(1) 3 dominica mnciuM pascha STatio ad sanctAm ma- 
RIA < M >. INDUms FreSByteH sacris uestibms stet 
POST ALTARE et DIC at AET& UOCe: 
Quern queritis in sepulcro, Xpisticole ? 
RESPONDEAT DI ACOUUS : 
Hiesum nazarenum, o celicole. 
’Respondeat BresByteB: 
Non est hie; surrexit sicut predixerat; 
ite nuntiate qma surrex^. 
tunc perGiT diao onus canendo usq ue in choro : 
Alleluia, resurrexit Dominws. 
iTEm versus de intro^o ; 
Hodie exultent iusti. Resurrexi 4 
1 Followed immediately by a fresh trope: Hodie cantandus est nobis. 
See below pp. 362 £f. 
’This observation was made first, apparently, by Gautier, p. 218, 
note 2. 
* Benevento, Bibl. Capit., MS. 27, Troparium Beneventanum saec 
xii. fol. 47.v 
4 The beginning of the Introit. The internal trope of the introit 
continues. 
