Two later versions, belonging respectively to Laon[199] and to Rouen[200], diverge far more from the model. They are at much the same stage of development. In both the play is ushered in with the hymn _Gloriosi et famosi_, the verses of which are sung by the prophets, and the refrain by the choir[201]. The costumes and symbols of the prophets are carefully indicated in the rubrics. The _Precentor_ of Limoges is represented by two singers, called at Laon _Appellatores_, and at Rouen _Vocatores_. The dialogue is amplified beyond that of Limoges. _Sex Iudaei_ and _sex Gentiles_, for instance, take parts: and the _Vocatores_ comment with the choir in an identical form of words on each prophecy. The Laon text is a good deal the shorter. The prophets are practically the same as at Limoges, with one remarkable exception. At the end is introduced Balaam, and to his prophecy is appended a miniature drama, with the angel and the ass: thus— ‘_Hic veniat Angelus cum gladio. Balaam tangit asinam, et illa non praecedente, dicit iratus_: quid moraris, asina, obstinata bestia? iam scindent calcaria costas et praecordia. _Puer sub asina respondet_: angelus cum gladio, quem adstare video, prohibet ne transeam; timeo ne peream.’ The Rouen text adds quite a number of prophets. The full list includes Moses, Amos, Isaiah, Aaron, Jeremiah, Daniel, Habakkuk, Balaam, Samuel, David, Hosea, Joel, Obadiah, Jonah, Micah, Nahum, Zephaniah, Haggai, Zechariah, Ezekiel, Malachi, Zacharias, Elisabeth, John the Baptist, Simeon, Virgil, Nebuchadnezzar, and the Sibyl. In this version, also, the part of Balaam is expanded into a drama. ‘_Duo missi a rege Balac dicant_: Balaam, veni et fac. _Tunc Balaam, ornatus, sedens super asinam, habens calcaria, retineat lora et calcaribus percutiat asinam, et quidam iuvenis, habens alas, tenens gladium, obstet asinae. Quidam sub asina dicat_: cur me cum calcaribus miseram sic laeditis. _Hoc dicto, Angelus ei dicat_: desine regis Balac praeceptum perficere.’ Here, too, another little drama is similarly introduced. This is the story of Shadrach, Meshach, and Abednego, which, with an _imago_ for the brethren to refuse to worship and a _fornax_ for them to be cast into, attaches itself to the _vocatio_ of Nebuchadnezzar.