The Drama of the Medieval Church [2]

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THE

DRAMA OF THE

MEDIEVAL

CHURCH

FIRST PUBLISHED 1933 REPRINTED LITHOGRAPHICALLY IN GREAT BRITAIN AT THE UNIVERSITY PRESS, OXFORD FROM CORRECTED SHEETS OF THE FIRST EDITION 1962

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Play of the Shepherds, from the ‘Shrewsbury Fragments’, in the Library of Shrewsbury School,'MS VI (Mus. iii. 42), fol. 38"

VS THE

DRAMA OF

THE

CHURCH

MEDIEVAL BY KARL

YOUNG

Professor of English in Yale University

THE LIBRARY De Sales Prep Seminary 3501 South Lake Drive Milwaukee, Wis. 53207

WITHDRAWN VOLUME

II

OXFORD AT THE

CLARENDON

PRESS

nee V7 a

Oxford University Press, Amen House, London E.C.4 GLASGOW BOMBAY

NEW

YORK

CALCUTTA

CAPE TOWN

TORONTO MADRAS

SALISBURY KUALA

LUMPUR

MELBOURNE KARACHI

NAIROBI HONG

WELLINGTON

LAHORE IBADAN

KONG

DACCA

ACCRA

CONTENTS VOLUME PLAYS XVII. THE XVIII. THE XIX. THE

ASSOCIATED

SHEPHERDS

AT THE

OF THE

MAGI

COMING

OF THE

MAGI

SLAUGHTER

XXI. THE

PROCESSION

XXII. THE

CHRISTMAS

PLAYS XXIII.

WITH HOLY

COMING

XX. THE

UPON

OF THE

THE

(continued)

INNOCENTS

FROM

NATIVITY

MANGER :

OF PROPHETS PLAY

II

.

:

:

3

:

:

2

PX)

5

:

5

-

59

.

:

;

~

Lo2

c

5

als

:

mel

:

:

BENEDIKTBEUERN

OTHER SUBJECTS FROM FROM LEGENDS

THE

PLAYS FROM THE NEW TESTAMENT: THE LAZARUS—THE CONVERSION OF SAINT PAUL

XXIV.

PAGE

:

PLAYS OF THE BLESSED VIRGIN MARY: THE IN THE TEMPLE—THE ANNUNCIATION—THE

.

BIBLE

AND

RAISING :

OF

2

199

PRESENTATION PURIFICATION

—THE ASSUMPTION . 225 XXV. PLAYS ON SUBJECTS FROM THE OLD TESTAMENT: ISAAC AND REBECCA—JOSEPH AND HIS BRETHREN—DANIEL . 258 XXVI. THE MIRACLE PLAYS OF SAINT NICHOLAS. . 307 XXVII. PLAYS ON SUBJECTS FROM ESCHATOLOGY: THE WISE AND FOOLISH VIRGINS—ANTICHRIST . ; . : . 361 CONCLUSION . ; ; ‘ : - 397 NOTES . 3 ; : : ; . 427 APPENDICES. : : : : ; : PLBOR A. THE EASTER SEPULCHRE

507

B.

THE

514

C.

EXTRACTS

1. 2. 3. 4. D.

SHREWSBURY FROM

FRAGMENTS

THE WRITINGS

OF REFORMERS

524

Gerhoh of Reichersberg (1093-1169) Thomas Kirchmayer (‘Naogeorgus’) (1511-63) Barnabe Googe (1540-94) George Gilpin, the Elder (1514?-1602)

MISCELLANEOUS

RECORDS

AND

REFERENCES

539

. Beverley Yorkshire . Cividale . Dunstable, Bedfordshire Leconfield, Yorkshire London . Regensburg Riga . Witney, Oxfordshire York wo DH ©OYAMRYW LIST OF BOOKS

INDEX

.

:

5

:

.

s

*

c

:

- 544

:

:

°

°

°

°

:

- 563

LIST

OF

ILLUSTRATIONS VOLUME

II

XIII. Play of the Shepherds, from the ‘Shrewsbury Fragments’, in the Library of ee ee School, MS VIpoe iii. 42), fol. 30° : . Frontispiece . Play of the Shepherds from Rouen. Paris, Bibliothéque Nationale, MS lat. go4, fol. 127

Facing page 7) 216

. Play of the Magi from Strassburg. London, British Museum, MS Additional 23922, fol.8’-g'

.

64

. The Flight to Egypt, from the Hortus Deliciarum of Herrad of Landsberg tae : Sea

ETA:

. Play of the Prophets (Festum Asinorum) from Rouen. Rouen, Bibliothéque de la Ville, MS 384 (Y. 110), fol. 33 .

154

. Christmas Play from Carmina Burana. Munich, Staatsbibliothek, MS lat. 4660, fol.gg™

»

192

. Play of the Conversion of St Paul from the Fleury Play-book, in Orleans, Bibliotheque de la Ville, MS 201 (178), p.230 .

220

. Philippe de Méziéres’ Dramatic Office for the Feast of the Presentation of the Blessed Virgin Mary in the Temple. Paris, Bibliothéque Nationale, MS lat. 17330, fol. 18* .

228

. Isaac and Jacob, from the Hortus Deliciarum:of Herrad Landsberg ; : : ; : ;

of -

264

Play of the Image of St Nicholas, by Hilarius. Paris, Bibliothéque Nationale, MS lat. 11331, fol. 117

.

338

SXITIT. Play of the Wise and Foolish Virgins (Sponsus) from Limoges. Paris, Bibliothéque Nationale, MS lat. 1139, fol. 54” .

364

XXIV. Antichrist seducing the Kings by Gifts, from Deliciarum of Herrad of Landsberg . :

388

XXII.

—.

the Hortus , .

ABBREVIATIONS Brev. = Breviarium Grad. = Graduale

Lib. resp. = Liber responsalis Miss. = Ordin. Process. sec. =

Missale Ordinarium = Processionale seculum =

Trop. = Troparium

PLAYS

3536.2

ASSOCIATED

WITH

B

THE

NATIVITY

CHAPTER

THE

SHEPHERDS

XVII

AT THE

HOLY

MANGER

HE survey of the plays of Easter Day, which has occupied the greater part of the first volume, may be regarded, fairly enough, as an introduction to the dramatic pieces presenting the Nativity, for, in their simpler forms, the latter are imitations

of the former. In the dramatizing of occurrences immediately associated with the birth of Jesus the pattern used was the Visitatio Sepulchri.' I 5 The natural centre of a dramatic performance on Christmas Day was, of course, the-presepe at Bethlehem, and the action inevitably chosen was the visit of the shepherds, the description of which forms the most conspicuous part of the only circumstantial account of Christ’s birth given in the Gospels, that in the second chapter of St Luke:?2 7. Et peperit fiium suum primogenitum, et pannis eum involvit, et reclinavit eum in presepio, quia non erat eis locus in diversorio. 8. Et pastores erant in regione eadem vigilantes, et custodientes vigilias noctis super gregem suum. g. Et ecce angelus Domini stetit juxta illos, et claritas Dei circumfulsit illos, et timuerunt timore magno. 10. Et dixit illis angelus: Nolite timere, ecce enim evangelizo vobis gaudium magnum, quod erit omni populo, 11. Quia natus est vobis hodie Salvator, qui est Christus Dominus in civitate David. 12. Et hoc vobis signum: Invenietis infantem pannis involutum, et positum in presepio. 13. Et subito facta est cum angelo multitudo militiz ccelestis laudantium Deum, et dicentium:

14. Gloria in altissimis Deo, et in terra pax hominibus bone voluntatis. 15. Et factum est ut discesserunt ab eis angeli in ccelum, pastores loquebantur ad invicem: Transeamus usque Bethlehem, et videamus hoc verbum quod factum est, quod Dominus ostendit nobis. 16. Et venerunt festinantes, et invenerunt Mariam et Joseph et infantem positum in presepio. ' For bibliography bearing upon the plays of Christmas see Notes, p. 427. 2 Luke ii, 7-20. Be

4

THE

[CHAP.

NATIVITY

17. Videntes autem cognoverunt de verbo, quod dictum erat illis de puero hoc. 18. Et omnes qui audierunt mirati sunt, et de his que dicta erant a pastoribus ad ipsos. 19. Maria autem conservabat omnia verba hec, conferens in corde

suo. 20 Et reversi sunt pastores glorificantes et laudantes Deum in omnibus quz audierant et viderant, sicut dictum est ad illos.

In all its serene beauty and angelic joyfulness, however, this narrative fails to provide all the details desired by a playwright. From it, indeed, one might fancy that the scene at the manger was a silent one, in which the shepherds were completely awed by what they saw before them. The required dialogue, therefore, had to be devised.! For this, the model employed was the Easter introit trope Quem queritis,2 and the result may be illustrated by the following text of the eleventh century from Limoges: Ap

DomiInIcAM

MIssAM

Quem queritis in presepe, pastores, dicite? Saluatorem Christum Dominum, infantem pannis inuolutum, secundum sermonem angelicum.* Adest hic paruulus cum Maria matre sua, de qua dudum uaticinando Isaias dixerat propheta: Ecce utrgo concipiet et pariet filium;5 et nunc euntes dicite quia natus est.

Alleluia, alleluia! Iam uere scimus Christum natum in terris, de quo cantte omnes cum propheta, dicentes: Psalmus: Puer natus est.

Just as the Easter trope is assumed to be a dialogue between the Marys and the angel at the sepulchre, so the short composition before us consists in a similar exchange of utterances between the shepherds and certain persons stationed at the manger. The Christmas piece, moreover, resembles the Easter trope not only in its arrangement as a dialogue and in its attachment to the ' Schiffmann (Drama, p. 9) seems to imply

that the element of dialogue is already supplied by the Gospel. 2 For

the

relevant

texts

of the

Easter

tropes see above, chapter vii. 3 Paris, Bibl. Nat., MS lat. 887, Trop. Lemovicense sec. xi, fol. 9¥, previously edited by Young, Officium Pastorum, pp. 3001. The MS provides music. For references to

other texts of this form of trope see Notes, Pp. 427. * It is entirely possible that the rhyming of Dominum, inuolutum, and angelicum is intentional. 5 See Isaiah vii, 14: Propter hoc dabit Dominus

ipse vobis signum.

Ecce

virgo

con-

cipiet, et pariet filium, et vocabitur nomen ejus Emmanuel.

xvi]

SHEPHERDS

AT THE

HOLY

MANGER

5

introit of the Mass,! but also in such turns of phrase as appear in the following parallels:? Quem quaritis in sepulchro, o Christicole? Quem queritis in presepe, pastores, dicite?3 Jesum Nazarenum crucifixum.

Salvatorem Christum Dominum. Non est hic. Adest hic. Ite, nuntiate quia surrexit. Nunc euntes dicite quia natus est. . illud quod olim ipse per prophetam dixerat ad Patrem taliter inquiens. . . de quo canite omnes cum propheta dicentes.

That the indebtedness is upon the part of the Christmas trope is indicated sufficiently by the fact that the earliest extant texts of it, from the eleventh century, are decidedly later than the earliest texts of the Easter trope.* In one respect the Christmas trope is distinctly unlike its model: it does not tell us with whom the shepherds are assumed to be conversing. From later texts, however, we learn that the other interlocutors are midwives, or obstetrices.5 These personages appear first in the apocryphal Protevangelium Jacobi of the second century, in which they bear testimony to the Immaculate Conception.® This Greek version circulated widely in the East. The dissemination of the story in Western Europe seems to have been due to a Latin version, of the fourth century or earlier, in the Pseudo-evangelium Matthei.7, Here the midwives are two in number, and from the sixth century onwards they are represented in art as serving Mary in her childbearing. These are the personages who are assumed to be addressing the shepherds in

the Christmas dialogue now before us.® ! The last three words of the printed text are the beginning of the introit of the third Mass of Christmas Day, the full text of which is as follows: Puer natus est nobis, et filius datus est nobis; cujus imperium super humerum ejus, et vocabitur nomen ejus, magni consilii angelus. Psalmus: Cantate Domino canticum novum, quia mirabilia fecit. Concerning the three Masses of Christmas see above, 1, 547. 2 These resemblances are effectively indicated by Bohme, pp. 33-6. On the imitating of the Easter trope see also Brinkmann, pp. 108-9, 130-3.

3 This sentence appears to show the influence also of the responsory Quem vidistis, pastores, dicite (see above, i, 57), or of the antiphon beginning with the same words, concerning which see below, pp. 20 sqq. 4 See the texts from St Gall and Limoges above, i, 201, 210. 5 See, for example,

the version of the Officium Pastorum from Padua below, p. 9. © See Tischendorff, Evangelia, pp. 35 sqq. 7 See id., pp. 76 sqq. 8 On the tradition of the obstetrices see Anz, pp. 19 sqq. In his zealous demonstration of

6

THE

[CHAP.

NATIVITY

Among the extant examples of the Christmas trope the variety in content is not very great. A slight addition to the text appears in the following of the eleventh century from Ivrea:! TRopus Quem queritis in presepe, pastores, dicite? Versus: Saluatorem Christum Dominum, infantem pannis inuolutum, secundum sermonem angelicum. Versus: Adest hic paruulus cum Maria matre sua, de quo dudum uaticinando Ysayas dixerat propheta: Versus: Ecce uirgo concipiet et pariet filium; et nunc euntes dicite quia natus est. Versus: Alleluia, alleluia! Jam uere scimus Christum natum in terris, de quo canile omnes cum propheta dicentes: Puer natus est nobis, See Anz, pp. 122-4.

CHAPTER

THE

SLAUGHTER

XX

OF THE

INNOCENTS

HE treatment here of the few extant dramatizations of the slaughter of the Innocents is to be regarded as a direct continuation of the discussion of the Magi plays in the two preceding chapters.! Both through its position in the Gospel narrative and through its liturgical history the theme of the Innocents is closely associated with that of the visit of the wise men from the East. In the account of St Matthew we are told that after he heard of the escape of the Magi, Herod promptly indulged his anger by ordering the slaughter of all the male children in the region of Bethlehem of the age of two years or less; and that thus was fulfilled the prophecy of Jeremiah concerning Rachel’s mourning for her children. The brief record in the Vulgate runs as follows:? Tunc Herodes videns quoniam illusus esset a Magis, iratus est valde, et mittens occidit omnes pueros qui erant in Bethlehem et in omnibus finibus ejus a bimatu et infra, secundum tempus quod exquisierat a Magis. Tunc adimpletum est quod dictum est per Jeremiam prophetam dicentem: Vox in Rama audita est, ploratus et ululatus multus: Rachel plorans filios suos, et noluit consolari, quia non sunt.

The association of the two events was maintained for a time in the Roman liturgical calendar, for during the early Christian centuries they were commemorated in a single feast, the separate celebration of the Slaughter of the Innocents on December 28th being unknown before the fourth or fifth century. It was entirely natural, therefore, that the close relationship between the two

themes should sometimes continue when they were dramatized, the representation of the fate of the Innocents serving as a kind of epilogue to the play of the Magi. | This dramatic sequence has, indeed, already been indicated

in several of the versions of the Officium Stelle considered in the foregoing chapters. At the close of the version from Freising, for ' For bibliography bearing on the play of

the Innocents see Notes, p. 452. 2 Matt. ii, 16-8.

3 See

p. 70.

Rietschel,

Lehrbuch,

i, 189;

Anz,

Xx |

THE

SLAUGHTER

OF THE

INNOCENTS

103

example, one of Herod’s soldiers explicitly urges him to order the slaughter of the male children, the king accedes with vehemence, and the puert actually appear upon the stage, as if to show that the execution of Herod’s design is imminent.! In the play from Compiégne Herod issues the same command, and the children appear to have been rescued from destruction only through the sudden ending of the play with the angel’s merciful utterance Svnite parvulos venire ad me.2 ‘The Norman play ends with a scene in which Herod is incited to the slaughter both by his soldiers and by his son, Archelaus, and brandishes his sword angrily in acquiescence. Since the scene ends fragmentarily, the outcome cannot be determined.3 ‘To these versions of the Officium Stelle which end with only a tentative, or fragmentary, approach to a dramatization of our theme we may now add at least one example of a Magi play which presents the subject completely. This is found in a servicebook of the cathedral of Laon:4 Orpbo STELLE Stella apparente, tres Reges e diuersis partibus ueniunt, et primus dicit: Stella fulgore nimio rutilat. Secundus dicit: Que |regem regum natum monstrat.

Tertius dicit: Quem uenturum olim prophetia signauerat. Tres simul: Eamus ergo et inquiramus eum, offerentes et munera: aurum, thus, et mirram; quia scriptum didicimus: Adorabunt eum omnes reges, omnes gentes serutent ei. Nuntius ad Magos: Qui uos? quid queritis? uel quo 1am tendere uultis? Magi: Ex oriente sumus, Iherosolimam tendentes; natum regem querimus. Nuntius ad Regem: Viuat Rex in eternum! Item Nuntius ad Regem: En magi ueniunt, Et regem regum natum, stella duce, requirunt. t See above, p. 97. 2 See above, pp. 55-6. 3 See above, p. 72. See also p. 66, and

Young, Ordo Rachelis, pp. 5-13. 4 Laon, Bibl. de la Ville, MS 263, Troparium-Hymnarium Laudunense sec. xii,

fol. 149'—151", previously edited by Chevalier, Laon, pp. 389-94; and by Young, Ordo ARachelis, pp. 13-7. The text before us is immediately preceded in the MS by the ending of the Ordo Prophetarum printed below, pp. 145 sqq.

104

THE

NATIVITY

[CHAP.

Rex ad Nuntium: Ante uenire iube, quod possim singula scire Qui sint, cur ueniant, quo nos rumore requtrant. Nuntius ad Magos: Regia uos mandata uocant; non segniter! ite, Magi Regem salutant: Aue, Rex Iudeorum! Rex ad Magos: Regem quem queritis, natum esse quo signo didtcistis? Magi: Illum natum esse didicimus in oriente stella monstrante. Rex ad Magos:

Si illum regnare creditis, dicite michi. Magi: Hunc regnare fatentes, cum misticis muneribus de terra longingua adorare uenimus, trinum Deum uenerantes tribus in muneribus.

Primus: Auro regem. Secundus: Thure sacerdotem. Tertius: Mirra mortalem. Rex ad Symmistas: Huc simmiste2 mei, disertos pagina scribas prophetica ad me uocate.| Simmiste ad Scribas: Vos, legis periti, a rege uocati cum prophetarum libris properando uenite. Rex ad Scribas: O uos scribe, interrogati dicite st quid de hoc puero scriptum uideritts in libro. Respondent Scribe: Vidimus, Domine, in prophetarum libris: Bethleem, non es minima in principibus Iuda, ex te enim exiet dux qui regat populum meum Israel; ipse enim saluum factet populum suum a peccatis eorum. Rex ad Magos: Ite et de puero diligenter inuestigate, Et inuento, redeuntes mihi renuntiate.

Magi inclinantes discedunt, et iterum uidentes Stellam dicunt: Ecce stella, ecce stella, et ecce stella in oriente preuisa Iterum reducit nos lucida, lucida, lucida,

Quam Balaam ex Iudaica orituram3 dixerat prosapia; Que nostrorum oculos+ fulgurantt lumine perstrinxitS pauidos lucida, lucida, lucida. T segniter] senniter (MS). 2 simmiste] simite (MS). 3 orituram] oriturum (MS).

+ oculos] oculis (MS). 5 perstrinxit] perstrinexit (MS).

xx]

THE

SLAUGHTER

OF THE

INNOCENTS

105

Ipsam simul, ipsam simul, ipsam simul congrediendo sectantes non relinquamus ultra, Donec nos perducat ad cunabula.

Obstetrices ad Magos, antequam intrent: Qui sunt hi qui, stella duce, nos adeuntes inaudita! ferunt? Magi: Nos sumus, quos cernitis, reges Tharsis et Arabum et Sabba dona ferentes Christo, Regi,? nato Domino, quem, stella deducente, adorare uenimus. Obstetrices introducentes Magos, ostendunt Puerum et dicunt: Ecce puer adest quem queritis; |introeuntes adorate, quia ipse est redemptio mundi. Accedunt Magi et genuflexo primus dicit: Suscipe, Rex, aurum. Secundus: Tolle thus, tu uere Deus.

Tertius: Mirram, signum sepulture. Ioseph ad Magos: Multi reges et prophete uoluerunt hec uidere;

que auditis et urdetis nec concessum fuit illis. Angelus: Impleta sunt omnia que prophetice dicta sunt. Ite, utam redeuntes aliam, ne delatores tanti regis puniendi eritis. Magi redeuntes cantant: Secundum quod dictum est nobis ab angelo de puero isto, inuenimus infantem pannis inuolutum et positum in presepio in medio duum animalium. Nuntius ad Regem: Delusus es, Domine; Magi uiam redierunt aliam.

Archelaus ad Regem: , Decerne, Domine, uindicari tram tuam, et stricto mucrone querere tube pueros; Sorte inter occisos occidetur et puer. Rex gladium reddens Archelao dicit: Indolis eximie, pueros fac ense perire.

Interim Pueri, agnum portantes, intrant cantantes: Ecce Agnus Dei, ecce qui tollit peccata mundt, alleluia. Iterum et tertio ueniunt Armati. Clamant Pueri dum occiduntur: Quare non defendis sanguinem nostrum? Angelus: Adhuc sustinete modicum tempus, donec impleatur numerus fratrum uestrorum. 1, inaudita] mandata (MS).

2 Regi] rege (MS).

106

THE

NATIVITY

[CHAP.

Venit Rachel, et exclamans cum fletu dicit:

O dulces innocentum acies! O pia lactantum pro Christo certamina! Paruorum truci|dantur milta;

membris ex teneris manant lactis flumina.

Consolatrix: Noli, uirgo Rachel, —_nolt, dulcissima mater, Pro nece paruorum _fletus reticere dolorum. Rachel: Gaudia non possunt,! nam dulcia pignora non sunt, Iudee florem, patrie lacrimando decorem. Consolatrix: Tu, que tristaris, exulta, que lacrimarts, Namque tui nati utuunt super astra beatt. Rachel: Heu! Heu! Quomode gaudebo dum mortua membra uidebo? Dum sic commota _fuero per uiscera tota Me facient uere _pueri sine fine dolere. Consolatrix: Supplico ne plores, que tanto sanguine flores Ast oculos flentes, lacrimas quoque terge fluentes. Rachel: In dolorem est conuersum quod habebam gaudium. Consolatrix: Quam beata sunt innocentum ab Herode cesa corpuscula! Quam felices existunt matres, fuderunt que talia pignora! Rachel: Planctus matrum et Rachelis equa sunt suspiria Nulla quidem consolatur magna pre tristitia. Ey dolor est! Nolo consolari, quia non suni.2

This is, in large part, a normal version of the play of the Magi, so generally similar to versions of the Officium Stelle already examined that a detailed analysis may be omitted. In the scene of the adoration of the Magi, however, at least one matter requires a word of comment: namely, the participation of Joseph. Although he is not specifically mentioned in St Matthew’s narrative, he appears in the apocryphal Pseudo-Matthew,; and his presence must, in any case, be assumed.

One wonders, indeed,

why this appealing figure is not brought forward prominently in other versions of the Officium Stelle. In the absence of any 1 possunt] possum (MS). 2 Followed by the rubric Ordo Joseph, intro-

ducing the play printed below, pp. 267 sqq. 3 See Tischendorf, Evangelia, p. 83.

xx]

THE

SLAUGHTER

OF THE

INNOCENTS

107

traditional utterance for Joseph on this occasion, the writer at Laon rather skilfully adopts and versifies the following utterance of Christ from the Gospel of Luke: Dico enim vobis quod multi prophete et reges voluerunt videre que vos videtis, et non videruni; et audire que auditis, et non audierunt.* In the role of the Magi we need observe only one other detail: the passage which they sing as they withdraw from the stage (Secundum quod dictum). This utterance—appropriate only to the shepherds, and here assigned to the Magi somewhat ineptly— may possibly be a remnant of a scene of the pastores, incompletely eliminated at Laon.? Proceeding, then, to the scene of the massacre of the Innocents,

which follows immediately and naturally after Herod’s command, we observe that it opens with a processional entry of the boys, carrying a lamb and singing Ecce Agnus Dei. As the soldiers rush in and begin the slaughter, the pueri utter their despairing cry Quare non defendis? and receive the angelic assurance Adhuc sustinete. Rachel now enters, and a succession of laments from her, accompanied by the comforting utterances of Consolatrix, constitute the greater part of the scene, and conclude the play. The literary elements of the new scene of the Innocents are

in part traditional and liturgical, and in part original. The presence of the lamb carried by the boys at their entrance upon the stage is amply explained by the liturgical epistle of the day, in which we read the following:3 Et vidi, et ecce Agnus stabat supra montem Sion, et cum eo centum quadraginta quattuor millia . . . Hi sunt qui cum mulieribus non sunt coinquinati; virgines enim sunt. Hi sequuntur Agnum quocumque lerit.

The passage which the pueri actually sing appears to be taken

directly from the Gospel of John (i, 29)—Eece Agnus Det, ecce qui tollit peccatum mundi—rather than from the adaptations of this text in the liturgy. The killing of the children is dramatized very briefly. The soldiers who perform the deed say nothing, but the boys and the Mass, and to the Christmas responsory Ecce 1 Luke x, 24. See Anz, p. 86. Agnus Dei (see Hartker, p. 49). In regard to 2 See Anz, p. 87. For the use of thisspeech these liturgical pieces see Young, op. cit., by the pastores in the Officium Stelle from p. 19, and above, i, 39. As to the frequent Fleury see above, p. 88. use of the theme of the procession of the lamb SE RGVexIVs ely Ae + I refer especially to the Agnus Dei of the _ in liturgical poetry see Anz, p. 71.

108

THE

NATIVITY

[CHAP.

angel exchange utterances drawn from the following responsory of Matins of Innocents Day:! Sub altare Dei audivi voces occisorum: Quare non defendis sanguinem nostrum? Et acceperunt divinum responsum: Adhuc sustinete modicum, donec impleatur numerus fratrum vestrorum. Versus: Vidi sub altare Dei animas sanctorum, propter verbum Domini quod habebant, et clara voce dicebant. Quare non.

The rest of the scene consists of the laments of Rachel, the

representative Jewish mother, and the responses of Consolatrix. These two figures arise ultimately from the prophecy of Jeremiah:

Vox in excelso audita est lamentationis, luctus, et fletus Rachel

plorantis filios suos, et nolentis consolari super eis, quia non sunt.? ‘This passage re-appears, slightly modified, in the Gospel narrative upon which the present scene is based,3 and thus finds a prominent place in the liturgy of Innocents Day both in the liturgical gospel and in the communio of the Mass.* In all these places Rachel is explicitly named, and the presence of her comforter is clearly implied in the words nolwit consolar. ‘Vheir utterances, however, remained to be supplied by the imaginations of liturgical poets, among whose independent preductions are found several passages of the scene before us. Rachel’s first speech (O dulces . . . lactis flumina) and the last speech of her consoler (Quam beata . . . talia pignora) are supplied by passages in the sequence Celsa puert concrepent melodia.’ From another sequence Misit Herodes innocentum® are derived the first two lines of Rachel’s last speech (Planctus matrum ... pre tristitia), the third line of which seems to rest upon a passage in the Vulgate.? For the remaining speeches of the two women no sources can be cited. It will be observed that some dozen lines of this part of the dialogue (Noli, virgo . . . terge fluentes) are leonine hexameters.8 Concerning the staging of the play before us the text.is almost silent. For the earlier part of the action, in which the Magi are concerned, are provided a star and a manger; but for the scene of the slaughter no special arrangements are mentioned. In the ™ Migne, P.L., Ixxviii, 739-40. A slightly different form is given by Hartker, p. 65. See Young, op. cit., p. 19. 2 Jeremiah, xxxi, 15. 3 See Matt. ii, 17-8, quoted above, p. 102. 4 See Migne, P.L., lxxviii, 648.

5 Chevalier, R.H., no. 2747, plete text see Notes, p. 452.

6 Chevalier,

R.H.,

no.

For the com-

11620.

For

the

complete’ text see Notes, p. 453. 7 See Matt. ii, 18, quoted above, p. 102,

* Meyer (pp. 45-6) and Anz (pp. 74-7)

discern verbal relationships between certain of these lines and passages in the versions from Freising and Limoges to be considered below. These relationships are treated as largely indecisive by Young, op. cit., pp. 22, 53-62.

Or]

THE

SLAUGHTER

OF THE

INNOCENTS

109

representation of the killing of the children there was, presumably, no industrious attempt at realism. At what point in the liturgy the play was performed we do not know. Probably it could have been given most conveniently at the close of Matins of Epiphany. I] Only in the Officium Stelle of Laon is a fully developed scene of the Innocents found directly attached to an Epiphany play. The three other extant dramatic treatments of this subject are independent pieces. Of these the simplest and briefest is the following, of the eleventh or twelfth century, from the monastery of St Martial at Limoges:! ! principis ad dexteram; mecum? regnet etiam,3 ob suam periciam, partem regni terciam. Et conuersus ad Milites dicet: Propter uaticinium uatis huius uert nostro decet a conspectu uwasa remouert;

150

in contemtum non habebo uasa velud ante;

nolo quod sint mthi causa cladis tante. 155 Milites uero, uasa reportantes et Reginam reducentes, cantabunt ante eam:+ Gaude, coniux regia,

Babilonis gloria, que precellis omnia Regi necessaria domina.

160

Cuius saptencia regi dat consilia, et dando solacia uincis muliebria agmina. In cutus consilio tota pendet regio, et pre sensu nimio te laudat cum gaudio concio.

170

triplex est |laudacio, forma, pudor, racio, que uix adsunt alto; digna es consorcio

regio. 175 Postea Darius, rex Persarum et Medorum, adueniens cum exercitu suo, et quasi interficiens Baltasar, et auferens ci coronam, inponet capiti suo. Qui cum sederit in trono suo, cantabitur hec laus coram eo:5 Ad honorem tui, Dari,

quia decet ® letari, omnes ergo mente part gaudeamus; laudes tibi debitas referamus! 1 sedeat(que>] Emend. F; sedeat (D). 2 mecum] Ete¢ (MS).

3 etiam] ectiam (MS). 4 In the right margin, opposite the opening words of the speech which follows, is written

180

Tordanus, crossed by a line of rubrication. 5 In the left margin, opposite the opening words of the speech which follows, is written Hilarius, crossed by a line of rubrication.

6 D’s emendation.

See Meyer, p. 57.

282

FROM

THE

BIBLE

AND

FROM

LEGENDS

[CHAP.

Cuius tugum timent Perse

nec non gentes uniuerse, quia summt minimique sibi subsunt et ubique, gaudeamus ; laudes tibi debitas referamus!

185

Cuius tram satis sensit quisquis sibt non consensit; cum rex ergo tam potens sit,

gaudeamus; Laudes sibi debitas

Nos quos causa discendi literas apud gentes transmisit exteras, dum sol adhuc extendit radium,

perquiramus nobis hospicium. Secundus Clericus:

Iam quos Nec ergo

sol equos tenet in litore, ad presens merget sub equore. est nota nobis hec patria; quert debent hospicia.

5

Tercius Clericus:

Senem quemdam maturum moribus hic habemus coram luminibus;

10

forsan, nostris compulsus precibus, erit hospes nobis hospitibus. Insimul omnes ad Senem dicant:

Hospes care, querendo studia

huc relicta uenimus patria;| nobis ergo prestes hospicium dum durabit hoc noctis spacium.

15

Senex:

Hospitetur uos factor omnium, nam non dabo uobis hospicium; nam nec mea in hoc utilitas, nec est ad hoc nunc op

50-

T esset] essed (MS). ? reliquit] aliquid (MS). 3 The Jew is, of course, addressing not St Nicholas himself, but the image. + W infers here the loss of 3 lines, or 15 syllables. Likewise D observes of a rhyme for meritis.

the absence

5 Qui carentes sensu] Que carentes sese

(MS)

XXVI]

PLAYS

OF SAINT

NICHOLAS

delegisse gaudeo, in quo uitam met sitam et sistendam flagito. Ergo rerum te mearum seruatorem statuo.

345 30

35

Tuque bonus, presens domus, excuba dum abero. Ad quam, seram 40 nunquam feram, te custode credito. Non est multi tanta fulti gestorum potencia. 45 Hutc st presit, ne quid desit tecto cum substancia. Sed me mei causa ret 50 rus compellit egredt. Nec, ut credo, fas habebo, mox quod | mallem, regredi. Iamque uale, 55 nec quid male nos tratent malefict. Vigil cura, ne tactura 60 domus adsit censut. Interim ueniant Fures, et post recessum eius dicant omnes insimul: Quid agemus? Quo tendemus? Que! captamus consilia? Oporteret ut impleret 65 nostra quisquam? marsupia. Ad hee dicat unus ex eis: Audite, socit, mea consilia: uir hic est Iudeus, cuius pecunia, st uultis, tam erit nostra penuria 70 releuata. t que] quo (MS).

2 quisquam] Emendation quis or quid proposed (D).

3,46 Alius:

FROM THE BIBLE AND FROM LEGENDS

[cHap.

Eamus propere; pellantur ocia;

tollantur ianue, frangantur hostia. Iudei forsitan huius incuria, 1am esse poterit nostra pecunta augmentata.!

75

Et cum cicius inceperint ire, dicat tercius: O mei comites, | ite suauius, uosque prospicite nunc diligencius; uir talis caucius seruat quam alius rem de qua metutt, et urgilancius est seruata. 80 Cum uenerint ad locum ubi furari debent, sit ibi arca patrata, quam

curueant.

Primus dicat: Arcam istam hine tollite,

st potestis, quam concite; quod st nequitis, frangite; que sunt in ea capite. Quo dicto, fingant? se non posse leuare archam; et dicat secundus: Nos oportet hance archam frangere; quam nequimus integram tollere.

85

Tunc ueniens tercius et inueniens seram non firmam, dicat;. O quanta exultacio! Hec archa, magno gaudio, se reserart uoluit

et se3 nobis aperuit! go Hoc dicto, capto quod fuerit in archa, abeant.4 Et tunc ueniens Iudeus et comperiens furata, dicat: Vah! perit! nichil est reliquiS micht! cur esse cept? Cur, mater, cur, |seue pater, fore me tribuisti? Heu! quid proferrt micht profuit aut generari? Cur, Natura parens, consistere me statuebas, Que luctus michi, que gemitus hos prospiciebas?

Quod querar in tantam Qui modo diues eram, Pollens argento,

95

—_mthi crimen obesse ruinam? utx aut nullius egebam.

_preciosis uestibus, auro,

Sum miser, idque met — moles est paupertet. Nam latet ex habitu me post modo quo fruar usu. Quod leuius ferrem, si ferre prius didicissem. Sed, nt decipior, ego sane desipiebam.

100

Stc ego, quod nomen Nicho\lai® mane colebam. ‘ augmentata] agmentata (MS. D.C). C erroneously reports that the MS has argumentata. 2 fingant] fugiant (MS). 3 se] Inserted by a later hand (MS).

+ abeant] habeant (MS). 5 reliqui] Over an erasure the MS seems to read reliqit. © Nicholai] The scribe wrote Nicholaus; but the partial erasure of the last two letters

Xxvi]

PLAYS OF SAINT NICHOLAS Quidni noxa? Fides nocuit michi Christicolarum, Que probat, et sine! sic te, Nicholae, uigere? Id michi tristandi — causam dedit et lacrimandt.

347 105

Nec solus flebo, nec inultus, credo, dolebo: Tu meritis subdare probris tondere flagellis. Sed fessus cedam, — noctis tibt tempora credam.

Quod nisi mane mea ___repares tibi credita causa, Primo flagellabo te, postque flagella cremabo. Nicholaus ad Fures furtum diuidentes: Quid, prophani? Quid nota reconditis?

110

Quid, dementes, ut uestra diutditis? Interistis.

Quid, |perditi, geritis? hominum? Vos uobis abduxit fraus demonum. Occubuistis. Vos an transit, omnium miserrimt, his abductis,3 fins teterrimt, quem merurstis24 Non me latet, inpudentissimi, que sunt michi commissa5 domut, que rapuistis. Has argenti marchas, his uestibus, hanc aurt massam insignibus continuistis. Michi autem sunt probra, turpium micht quidem et causa uerberum, que perpetrastis. Quod si noctis huius presencia

115

120

125

130

Sestin¢atye refertis omnia,

id deuitatis. Ne deprensi mane a populo,

me indicante, dignas® patibulo | penas soluatis.7

135

Recedente Sancto, dicat unus ex eis:

Quanta mors est has gazas reddere! S2 laudatis, uolo diuidere.

Alius: In isto negocio, may indicate a correction to Nicholai, as the four previous editors inferred.

1 sine] sine te, the second word being expunged (MS). 2 geritis] geris (MS). 3 his abductis] hos abductus (MS). 4 For these three defective lines D proposes this emendation:

An transeunt vos, 0 miserrimi, his abductis, fines teterrimi, quos meruistis? 5 commissa] commisse (MS). ® indicante dignas] Emendation testante _digni proposed (D). 7 soluatis] soluaris (MS).

348

FROM

THE

BIBLE

AND

FROM

LEGENDS

egemus consilio; nunquam letus fuero st hec sic reddidero.

[CHAP.

140

Tercius: Est melius hec nobis reddere quam sic uitam pendendo perdere.

Omnes insimul:! Redeamus,

et reddamus. Iudeus, rebus inuentis suis, dicat alta uoce: Congaudete michi, karissimt, restitutis cunctis que perdidi. Gaudeamus! Que mea dispersit incuria, Nicholai resumpst gracia. Gaudeamus! Conlaudemus hune Dei famulum; abiuremus obcecans” idolum.

145

150

Gaudeamus!

Vt, errore sublato |mencium,

155

Nicholai3 mereamur consorcium. Gaudeamus!

Omnis chorus dicat: Statuit et Dominus .* Finitur miraculum.$

The opening rubric of this version informs us that a certain Jew has been accustomed to venerate an image of St Nicholas hidden in his house, and that he has become rich. As the play opens the Jew is setting out upon a journey, leaving his possessions in an unlocked chest under the protection of the image. After his departure three robbers arrive, and finding the chest unlocked, carry off the contents. Upon his return the Jew laments the loss of his riches, deplores his past confidence in St Nicholas, and promises the image a beating on the morrow. Meanwhile St Nicholas visits the robbers and threatens them with criminal punishment if they do not return the stolen goods to the owner that night. After St Nicholas has withdrawn, the T insimul] simul (C.D) 5 Followed immediately in the MS by the 2 obcecans] obscecans (MS). rubric Ad representandum quomodo Sanctus 3 Nicholai] Substitution ejus proposed (D). — Nicholaus, introducing the play Filius Getronis, + Introit of the Mass for the feast of St printed below, pp. 351 sqq. Nicholas. See Sarum Missal, p. 234.

XXVI]

PLAYS

OF SAINT

NICHOLAS

349

robbers take counsel with one another as to his threat. Two of them propose retaining the loot, but the third robber persuades his companions to return it. At the restoration of his possessions the Jew rejoices, and calls upon the bystanders to give praise to St Nicholas.! The chorus closes the play with the singing of the introit Statuit ec Dominus. A comparison of the Fleury play with that of Hilarius discloses relatively few important differences in the action. Somewhat more of the narrative legend is reflected in the former play through the opening speech of the Jew, in which he reviews the miraculous powers attributed to the image by the Christians. This account of the Christian origin of the image has no parallel in the version of Hilarius. The effect of activity upon the stage is, no doubt, increased in the Fleury play through the fact that the robbers have speaking parts. In one respect, however, the Fleury version provides less action than the other: in that St Nicholas does not appear a second time, at the end. In characterization the Fleury writer proceeds with a freer hand. In the first place, Barbarus of Hilarius and of the legend becomes Fudeus, with special new traits.2 In his long opening address, for example, the Jew shows a characteristic scepticism as to the powers of the image. He scoffs at the credulity of the Christians, and commits his treasure to the image with a hesitant warning. The Jew is characterized also by one of the robbers who, in the following lines, credits him with the special talent of knowing how to keep his money safe (Il. 76-80): O mei comites, ite suavius,

vosque prospicite nunc diligentius; vir talis cautius servat quam alius rem de qua metuit, et vigilantius est servata.

Another distinctive bit of characterization appears in his denunciation of the Christians for misleading him into a false confidence in the image.3 The lament in which this denunciation occurs, although it shows a narrower range of emotion than does the parallel part of Hilarius’ play, discloses a laudable ! IT assume that the persons addressed are the members of the conventus in the choir. See Sepet, Origines, p. 169.

2 See Sepet, Origines, pp. Weydig, pp. 85-6. 3 See ll. 102-6.

168-71,

176;

350

FROM

THE

BIBLE

AND

FROM

LEGENDS

[CHAP.

naturalness in that the Jew decides to postpone beating the image until the next day, because of sheer weariness (1. 109)— Sed fessus cedam,

_noctis tibi tempora credam.

This effect of naturalness, attained through omitting the flagellation, may have resulted merely from a desire to reduce the comic tendency of the story in the interests of monastic decorum.! The parts of the robbers also are developed with considerable skill. It is, indeed, surprising that the play-book which shows such ineptitude in managing the three genert in the dowry play should show so much flexibility in the treatment of the fures here.2 The agitation of the three robbers is to some extent shown in the metres. Noteworthy are the short opening interrogations (ll. 61-3), Quid agemus? Quo tendemus? Que captamus consilia?

A similar agitation is apparent in the impulsive words in which, under threat of death, the three in unison express their eagerness to return the stolen treasure (ll. 144-5), Redeamus, et reddamus!

It will be noted also that in a special canniness and caution the third robber stands apart from the others as an individual. It is he who at the outset warns his companions of the Jew’s vigilance;3 and when, in spite of St Nicholas’ threats, the other

two are amusingly intent upon retaining their booty, it is the third robber who soberly brings them to their senses (Il. 142-3): Est melius hec nobis reddere quam sic vitam pendendo perdere.

The variety of versification seen in the roles of the robbers is characteristic of the play throughout. Although it is by no means clear that each kind of verse is fitted to the speaker with complete propriety, the variety in itself has a certain interest. Possibly this particular form of virtuosity may seem somewhat forced, as Sepet felt when he remarked, ‘On sent trop l’exercice scolaire d’une matiére développée tellement quellement en vers

latins’.* Striking are the internal rhymes applied to the fifteen' See Creizenach, i, 98. 2 See above, p. 322.

3 See ll. 76-80, quoted above. + Sepet, Origines, p. 168.

XXVI]

PLAYS

OF SAINT

NICHOLAS

351

syllable units of the Jew’s opening speech, the hexameters of his second speech,! the ‘student refrain’ of the Jew’s closing address,? and the general variety in stanzaic arrangements.3 The general arrangements of the stage required for this play are probably not essentially different from those for the version of Hilarius. T'wo sedes seem to be needed: one for the house of the Jew, and one for the retreat of the robbers. The rubrics provide a few meagre suggestions as to properties and incidental action. The struggle of the robbers with the chest in the house of the Jew is explicitly indicated, as is also their gleeful dividing of the spoils in their own dwelling. Although the literary variety of this play effaces any liturgical or hymn-like aspect such as we have seen in the plays from Hildesheim, the present piece may still be attached in some way to the liturgy. The closing rubric, in any case, directs the choir to sing the introit of the Mass of St Nicholas, Statuzt et Dominus. THE Son of Getron, or ‘Firtrus GETRONIS’

The only other legend of St Nicholas extant in dramatic form is usually entitled Filius Getronis. It recounts the abduction of the Christian lad, Deodatus, his captivity among heathen enemies, and his restoration to his parents through the miraculous power of the benevolent saint.* Of this story the only known dramatization is that preserved in the play-book from Fleury:5 Ad representandum quomodo Sanctus Nich¢o)>laus Getron Filiym

de manu

Marmorini,

Regis Agarenorum,

liberauit, paretur in com-

petenti loco cum Ministris suis armatis Rex Marmorinus in alta sede, quasi in regno suo sedens. Paretur et in alio loco Excoranda, Getronis ciuitas, et in ea Getron, et cum Consolatricibus suis, uxor eius, Eufro-

sina, et Filius eorum Adeodatus. Sitque ab orientali parte ciuitatis Excorande ecclesia Sancti Nicholai, in qua puer rapietur. His itaque ! See ll. g1 sqq. Sepet (p. 169) surmises that this speech is written in imitation of Plautus. 2 See ll. 146 sqq. Concerning this Gaudeamus Monmerqué writes (Mélanges, vii, 117): ‘Ce mot est le commencement de I|’Jntroit de la messe de Saint-Nicolas, dans certains missels.” The usual introit for the Mass of St Nicholas is Statuit et Dominus. As used here the word Gaudeamus seems to be merely a jubilant refrain, rather than the incipit of an

introit. 3 See Petit de Julleville, i, 71; Weydig,

p. 85. 4 For a text of the legend see Notes, p. 492. 5 Orleans, Bibl. de la Ville, MS 201 (olim 178), Miscellanea Floriacensia sec. xiii, pp. 196-205, previously edited by Monmerqué, in Mélanges, vii, 121-30 (M); Wright, pp. 1520 (W); Du Méril, pp. 276-84 (D); Coussemaker, pp. 123-42 (C). Only Coussemaker publishes the music. The text of Coussemaker is reprinted by Adams, pp. 63-9. For observations on the MS see above, i, 665. As

to what immediately precedes in the MS see above, p. 348. See also Kressner, pp. 56-7.

352

FROM

THE

BIBLE

AND

FROM

LEGENDS

[CHAP.

paratis, ueniant Ministri Marmorini Regis coram eo, et dicant omnes,

uel primus ex eis: Salue, Princeps, salue, Rex optime! Que sit tue uoluntas anime seruis tuts ne tardes dicere;

sumus que uis parati facere,

Rex dicet: Ite ergo, ne tardaueritis,

5

et quascunque gentes poteritis

wmperio meo subticite; resistentes uobis occidite, Interim Getron et Eufrosina, cum multitudine Clericorum, ad ecclesiam Sancti Nicholai, quasi ad eius sollempnitatem celebrandam, Filium suum secum ducentes, eant. Cumque Ministros Regis armatos illuc uenire uiderint, Filio suo pre timore oblito, ad ciuitatem suam

fugiant.

con-

Ministri uero Regis, puerum rapientes, coram Rege ueniant,

et dicant omnes, uel secundus ex eis: Quod iussisti, Rex bone, fecimus;

gentes multas uobis subegimus, et de rebus quas adquisiuimus hunc |puerum uobis adducimus. Omnes dicant, uel tercius: Puer iste, uultu laudabilts, sensu prudens, genere nobilis, bene debet, nostro iudicio, subtacere uestro seruicio,! Rex: Apolloni qui regit omnia

semper sit laus, uobisque gracia, qui fecistis michi tot patrias subtugatas et tributarias.

10

15

20

Rex Puero: Puer bone, nobis edissere

de qua terra, de quo sis genere, cuius ritu2 gens tue patrie: sunt gentiles, siue Christicole?

Puer; Excorande principans populo, pater meus, Getron uocabulo,

25

Deum colit, cuius sunt maria, qui fecit nos et uos et omnia. ' seruicio] Preceded by imperio, deleted by underlining (MS).

? cuius ritu] D suggests emendation cujus ritus, or de quo ritu.

XXVI]

PLAYS

OF SAINT

NICHOLAS

309

Rex:

Deus meus Apollo; deus est qui me |fecit; verax et bonus est;

30

regit terras, regnat in ethere.} Illi solt debemus credere. Puer:

Deus tuus mendax et malus est; stultus, cecus, surdus et mutus est; talem deum non debes colere,?

qui non potest seipsum regere.

35

Rex:

Noli, puer, talia dicere; deum meum nolt despicere; nam si eum tratum fecerts, euadere nequaquam poteris. 40 Interea Eufrosina, comperta obliuione Filii, ad ec¢c)lesiam Nicholai

redit; cumque Filium suum quesitum non inuenerit,3 lamentabili uoce : 4

Heu! heu! heu! michi misere! Quid agam? Quid queam dicere? Quo peccato merut perdere natum meum, et ultra uiuere?

Cur me pater infelix genuit? Cur me mater infelix abluit? Cur me nutrix lactare debuit? Mortem michi quare non prebuit? Consolatrices exeant et dicant: | Quid te 1uuat hec desolacio? Noli flere pro tuo filio. Summi Patris exora Filium, qui5 conferat er consilium. Eufrosina, quasi non curans consolacionem earum:

45

50

Fili care, filt carissime,

fili, mee magna pars anime, nunc es nobis causa tristicte

se)

quibus eras causa leticie! Consolatrices:

Ne desperes de Dei gracia, cuius magna misericordia istum tibt donauit puerum; tibi reddet aut hunc aut alium.

the succeeding one, are indistinct at the edge 5 qui] quo (MS). of the page.

lining (MS). 3536.2

60

3 inuenerit] inueniret (MS). 4 Some of the letters in this rubric, and in

T ethere] etthere (MS). 2 colere] Written by a later hand over credere, which has been deleted by underAa

354

FROM

THE

BIBLE

AND

FROM

LEGENDS

[CHAP.

Eufrosina:

Anxtatus est Cur moratur Cum te, filt, mallem mori

in me spiritus. meus interitus? non possum! cernere, quam diu uiuere.

Consolatrices: Luctus, dolor et desperacio tibt nocent, nec prosunt filro; sed pro eo de tuis opibus da clericis atque pauperibus.

Nicholai roga clemenciam, ut exoret |misericordiam summi Patris pro tuo filo; nec fal!

40

Partimini lumen lampadibus, Pre sitis insipientibus, Pulse ne nos simus a foribus, Cum uos Sponsus uocet in sedibus. Dole.

Affectionibus motus tumultus tollit uirtutibus proprios cultus. Diulcia>.

60

Ista sunt deuia Selicitatis, ocia mollia sunt uoluptatis. Diulcia.

65

Ista negocia plena malorum et desideria flagiciorum. Diulcia.

70

Et sepius repetant: Deorum inmortalitas