The mediaeval stage, volume 2 (of 2)Chambers, E. K. (Edmund Kerchever)
History
The mediaeval stage, volume 2 (of 2)
Chambers, E. K. (Edmund Kerchever)
Drama, Medieval -- History and criticism; Theater -- History -- Medieval, 500-1500
In some cases where Latin and vernacular appear together, the latter
is of the nature of a translation, or rough and often much expanded
paraphrase, of the former. This type of mixed and obviously transitional
text can, as it happens, be illustrated from French, German, and English
sources. It occurs, for instance, in the _Adam_. Here the Adam and Eve
and Cain and Abel scenes are wholly, but for the preliminary _lectio_ and
the interpolated chants by the choir, in Norman-French. The prophecies,
however, are given in the double form. Thus Isaiah says:
‘Egredietur virga de radice Jesse, et flos de radice eius
ascendet, et requiescet super eum spiritus domini.
‘Or vus dirrai merveillus diz:
Jessé sera de sa raïz.
Verge en istra, qui fera flor,
Qui ert digne de grant unor.
Saint espirit l’avra si clos,
Sor ceste flor iert sun repos.’
There are many similar examples in German plays, of which the most
complete is a _Quem quaeritis_ in a fourteenth-century manuscript at
Trèves[295]. In England Professor Skeat discovered at Shrewsbury a
fragmentary text of this type in a manuscript of the early fifteenth
century[296]. It is written in a northern, probably Yorkshire, dialect,
and contains the part, with cues, of a single actor in three plays, a
_Pastores_, a _Quem quaeritis_, and a _Peregrini_. In the first he played
the Third Shepherd, in the second the Third Mary, in the last probably
Cleophas. The fragment shows clearly enough the way in which the Latin
text was first sung by a group of performers together, and then expanded
by them separately in the vernacular. The two documents last quoted mark
not only the transition from Latin to the vernacular, but also that from
the sung drama of the liturgies to the spoken drama of the great cycles.
In Professor Skeat’s Shrewsbury fragments the Latin alone is musically
noted. In the Trèves _Quem quaeritis_ the Latin and portions of the
German are noted, and a careful distinction is made between the lines
to be spoken and those to be sung by the use of the terms _cantat_ and
_dicit_ in the rubrics[297].
Public-domain text, read in full here on John Shaqi.
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