In modern French this line reads, "Malheureuses! Chetives! Nous avons trop dormi!" The wise virgins refuse the oil and bid their foolish sisters to go and buy it. All the strophes change the melody at each change of personages. The little drama comes to its end with the intervention of Christ, who condemns the foolish virgins. The words of the Savior have no music. Coussemaker wonders whether the musician was unable to find a melody worthy to be sung by the Savior or intentionally made Him speak instead of chant. The same author, in his "Histoire de l'Harmonie au Moyen Age," gives facsimiles of all the pages of the original manuscript of this play. The notation, that of the eleventh century, is beautifully clear, and its deciphering is made easier by the presence of a line ruled across the page to indicate the relative positions of the notes. The music of these dramas is what we should naturally expect it to be, if we take into account the character of the text. The subjects of the dramas were always incidents from the Bible and the plays were represented in churches by priests or those close to them. It is certain that the educational drama of the church continued in the state of its infancy for several centuries. Even after the birth of the "Sacra Rappresentazione" in the fourteenth century the old-fashioned liturgical drama survived in Italy and was preserved in activity in other parts of Europe. Several interesting manuscripts in great libraries attest the consideration accorded to it at a period much later than that of which we have been speaking. Nevertheless the era of the origin of the plays as a rule will be found to antedate that of the manuscripts. For example, in the royal library of Berlin there is a fifteenth century manuscript of a liturgical drama entitled, "Die Marienklage." Dr. Frommann, of Nuremberg, after careful study, has decided that the play was of middle German (perhaps Thuringian) origin in the fourteenth century. This play is in part sung and in part spoken.[3] It begins with this bit of Latin chant by Mary: [Musical Notation] [Footnote 3: See Robert Eitner's introduction to the First Part of "Die Oper von ihren ersten Anfaengen bis zur Mitte des 18. Jahrhunderts." Leipsic, 1881.] The rest of the text is in old German. Here is a specimen of the recitative or chant with the German text: [Musical Notation] These recitatives are in a style exactly like that of the early French church plays.