Three plays, each more or less unique in character, complete the tale. The Fleury play-book has a _Conversio Beati Pauli Apostoli_, doubtless designed for the feast on January 25[224]. The shorter, but highly interesting collection from Limoges, has a play of the wise and foolish virgins, under the title of _Sponsus_[225]. This has attracted much attention from scholars, on account of the fact that it is partly in French, or more strictly in a dialect belonging to the Angoumois, and slightly affected by Provençal. As it is therefore of the nature of a transitional form, it may be well to give a somewhat full account of it. It opens with a Latin chorus beginning ‘Adest sponsus qui est Christus: vigilate, virgines!’ The angel Gabriel then addresses the virgins, and warns them in four French stanzas to expect ‘un espos, Sauvaire a nom.’ Each stanza has a refrain, probably sung chorally: ‘gaire noi dormet: aici’s l’espos que vos or atendet! Then comes a lyric dialogue, in which the _Fatuae_, who have wasted their oil, attempt in vain to get some, first from the _Prudentes_, and then from some _Mercatores_, whose presence here recalls the _unguentarius_ in the Prague versions of the _Quem quaeritis_[226]. This dialogue is in Latin, but with a French refrain: ‘dolentas, chaitivas, trop i avem (_or_ avet) dormit.’ Then comes the _Sponsus_, to whom the _Fatuae_ finally appeal: ‘audi, sponse, voces plangentium: aperire fac nobis ostium cum sociis ad dulce prandium; nostrae culpae praebe remedium! dolentas, chaitivas, trop i avem dormit. _Christus._ amen dico, vos ignosco, nam caretis lumine, quod qui perdunt procul pergunt huius aulae limine. alet, chaitivas, alet, malaüreias! a tot jors mais vos son penas livreias, e en efern ora seret meneias! _Modo accipiant eas daemones et praecipitentur in infernum._’ This stage direction, together with an allusion in the opening lines of the _Sponsus_ to the ‘second Adam,’ link this remarkable, and, I venture to think, finely conceived little piece to the Christmas play of _Adam_ to be discussed in the next chapter. It has essentially an Advent theme, and must have been performed either in Advent itself or at the Christmas season, with which Advent is prophetically connected[227].