Easter Play

LITURGICAL ORIGINS

In the Middle Ages the celebration of Liturgical feasts was as rich and varied as they were numerous; poetry and music, in particular, were used to impress on the congregation the significance of the events commemorated. Liturgical worship is in itself dramatic, with its stylized dialogues and the use of choirs. Often, as at Christmas , Epiphany , and Easter , the text of the Gospel called for a variety of roles. The Benedictines of St. Gallen , in Switzerland, in the tenth century wrote Sequences , Hymn s, Litanies , and Tropes and set them to music. The tropes—elaborations of parts of the Liturgy, particularly the Introit —found universal acceptance and remained in use in various forms until the end of the seventeenth century. These tropes were dramatic in construction and, as their musical settings prove, were sung alternately by two choirs of men and boys, or by two halfchoirs. The history of the ecclesiastical drama begins with the trope sung as Introit of the Mass on Easter Sunday. It has come down to us in a St. Gallen manuscript dating from the time of the tenth century monk Tutilo.

The conversation held between the holy women and the angels at Christ's sepulchre forms the text of this trope, which consists of the four sentences:

''Quem quaeritis in sepulchro, o christicolae
''
''Jesum Nazarenum, o coelicolae
''
''Non est hic. Surrexit, sicut praedixerat.
''
''Ite nuntiate quia surrexit de sepulchro.
''
''Resurrexi, postquam factus homo, tua jussa paterna peregi.
''

The first three sentences are found in many liturgical books dating from the tenth to the eighteenth century. The trope, however, did not develop into a dramatic scene until it was brought into connection with the .

This simplest form of liturgical Easter celebration was elaborated in many ways by the addition of Biblical sentences, hymns, and sequences, in particular the "Victimae paschali", which dates from the first half of the eleventh century; also by the representation of St. Peter and St. John running to the grave, and by the appearance of Jesus, who thenceforth becomes the central figure. The union of these scenes in one concerted action (the dialogue), rendered in poetic form (hymns, sequences) or in prose (Bible texts), and the participation of a choir gave to the Nuremberg Easter celebration of the thirteenth century the character of a short chanted drama. Such celebrations, however, remained parts of the liturgy as late as the eighteenth century. They were inserted between Matins and Lauds , and served for the instruction of the people, whose hearts and minds were more deeply impressed by reproductions of the Resurrection of Jesus, which appealed to the senses, than by a sermon. The Latin text was no obstacle, since the separate parts of the plays were known or were previously explained. The wide diffusion of these liturgical plays, in which priests took the different parts, is proof of their popularity. At least 224 Latin Easter dramas are known to have existed, of which 159 were found in Germany, 52 in France, and the rest in Italy, Spain, Holland, and England.

DEVELOPMENT INTO DRAMA

The popular taste for dramatic productions was fed by these Easter celebrations. The clergy emphasized more and more the dramatic moments, often merely hinted at in the rude original celebrations, and added new subjects, among them some of a secular nature. They introduced the characters of Pontius Pilate , the Jews, and the soldiers guarding the sepulchre, added the figure of an ointment-vender bargaining with the holy women, and other features which did not contribute to the edification or instruction of the people, though they satisfied their love of novelty and amusement. In this way the early Easter celebrations became real dramatic performances, known as the Easter Plays. Since the element of worldly amusement predominated more and more (a development of which Gerhoh of Reichersberg complained as early as the twelfth century), the ecclesiastical authorities began to prohibit the production of Easter Plays in the churches. It became necessary to separate them from church services, because of their length, which increased greatly, particularly after the introduction of the story of the Passion . Fragments of an Easter Play in Latin dating from the thirteenth century are found in the Benedictbeurn Easter Play, also in that of Klosterneuburg , both of which, probably, go back to the same source as the Mystery of Tours , composed as late as the twelfth century, and which, better than any other, offers an insight into the development of the Easter Plays from the Latin Easter celebrations.

POPULARIZATION

When, in course of time, as shown in the Easter Play of Trier , German translations were added to the original texts as sung and spoken, the popularizing of the Easter Play had begun. That of Muri Abbey , in Switzerland, belongs to this period, and is written entirely in German. But it was only after the popular element had asserted itself strongly in all departments of poetry, in the fourteenth and fifteenth centuries, that the popular German religious drama was developed. This was brought about chiefly by the strolling players who were certainly responsible for the introduction of the servant, of the ointment-vender (named Rubin), whose duty it was to entertain the people with coarse jests ( Wolfenbüttel , Innsbruck , Berlin , Vienna , and Mecklenburg Easter Plays, 1464). The Latin Easter Plays, with their solemn texts, were still produced, as well as the German plays, but gradually, being displaced by the latter, the Latin text was confined to the meagre Biblical element of the plays and the player's directions. The clergy still retained the right to direct these productions, even after the plays reflected the spirit and opinions of the times. Popular poetry, gross and worldly, dominated in the plays, particularly susceptible to the influence of the Carnival plays.

PASSION PLAYS

The Easter Plays represented in their day the highest development of the secular drama; nevertheless this most important event in the life of Jesus did not suffice: the people wished to see his whole life, particularly the story of the Passion. Thus a series of dramas originated, which were called and the Mary Magdalene Play. The sequence "Planctus ante nescia", which was brought to Germany from France during the latter half of the twelfth century, is the basis for the Lamentations of Mary. This sequence is merely a monologue of Mary at the foot of the Cross; by the introduction of John, the Saviour, and the bystanders as taking part in the lamentations, a dramatic scene was developed which became a part of almost all Passion Plays and has been retained even in their latest survivor. The Magdalene Play represents the seduction of Mary Magdalene by the devil and her sinful life up to her conversion. In Magdalene's sinfulness the people saw a picture of the depraved condition of mankind after the sin of the Garden Of Eden , from which it could be redeemed only through the sacrifice of Christ. This profound thought, which could not be effaced even by the coarse reproduction of Magdalene's life, explains the presence of this little drama in the Passion Play .

REFERENCES

SEE ALSO

Liturgical Drama

Passion Play

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Easter Play