In spite of the difference of text the incidents of the Rouen and Limoges versions, except for the angelic warning introduced at Rouen, are the same. There was a dramatic advance when the visit to Jerusalem, instead of being merely narrated by the choir, was inserted into the action. In the play performed at Nevers[176], Herod himself, destined in the fullness of time to become the protagonist of the Corpus Christi stage, makes his first appearance. There are two versions of the Nevers play. In the earlier the new scene is confined to a colloquy between Herod and the _Magi_: ‘[_Magi._] Vidimus stellam eius in Oriente, et agnovimus regem regum esse natum. [_Herodes._] regem quem queritis natum stella quo signo didicistis? Si illum regnare creditis, dicite nobis. [_Magi._] illum natum esse didicimus in Oriente stella monstrante. [_Herodes._] ite et de puero diligenter investigate, et inventum redeuntes mihi renuntiate.’ The later version adds two further episodes. In one a _nuntius_ announces the coming of the _Magi_, and is sent to fetch them before Herod: in the other Herod sends his courtiers for the scribes, who find a prophecy of the birth of the Messiah in Bethlehem. Obviously the Herod scene gives point to the words at the end of the Rouen play, in which the angel bids the _Magi_ to return home by a different way. At Compiègne the action closes with yet another scene, in which Herod learns that the _Magi_ have escaped him[177]. ‘_Nuncius._ Delusus es domine, magi viam redierunt aliam. [_Herodes._ incendium meum ruina extinguam[178].] _Armiger._ decerne, domine, vindicari iram tuam, et stricto mucrone quaerere iube puerum, forte inter occisos occidetur et ipse. _Herodes._ indolis eximiae pueros fac ense perire. _Angelus._ sinite parvulos venire ad me, talium est enim regnum caelorum.’ In a Norman version which has the same incidents as the Compiègne play, but in parts a different text, the _armiger_ is the son of Herod, and the play ends with Herod taking a sword from a bystander and brandishing it in the air[179]. Already he is beginning to tear a passion to tatters in the manner that became traditionally connected with his name. Another peculiarity of this Norman version is that the _Magi_ address Herod in an outlandish jargon, which seems to contain fragments of Hebrew and Arabic speech.