¹ E. K. Chambers, The Mediaeval Stage (Oxford), 1903.

² Oscar Cargill, Drama and Liturgy, Columbia University Studies in English and Comparative Literature (New York, 1930).

³ Karl Young, The Drama of the Mediaeval Church (Oxford, 1933).

⁴ See J. M. Manly, “Literary Forms and a New Theory of the Origin of Species,” MP, iv (1906–07), 577–595; and G. R. Coffman's support of that salutary attack upon the theory of evolution as applied to literature, in his review of Cargill's Drama and Liturgy, Speculum, vi (1931), 610–617.

⁵ Texts: Young, ii, 133–171.

⁶ The freer method appears in the prophet-prologue of the Benedictbeuern Christmas play, ibid., ii, 172–180.

⁷ Ibid., ii, 125.

⁸ See Edith A. Wright, The Dissemination of the Liturgical Drama in France (Bryn Mawr diss., 1936). For the record of the Tours play, see Young, ii, 153.

⁹ Ed. A. W. Pollard, The Towneley Plays, EETS, ES, lxxi (London, 1897), pp. 56–64.

¹⁰ Ed. P. Studer, Le mystère d'Adam (Manchester, 1918).

¹¹ On the influence of the Feast of Fools on the Balaam-scene, see Chambers, ii, 332–333, and Young, ii, 169–170.

¹² Ed. H. Deimling and Matthews, Chester Plays, EETS, ES, lxii, cxv (London, 1893–1916), i, 84–104. Possibly, however, the Balaam-scene owes its appearance in the Chester cycle as much to general influence from the Stanzaic Life. Frances A. Foster, A Stanzaic Life of Christ, EETS, clxvi (London, 1926), p. xlii.

Sepet's theory of the development of such Old Testament plays from the Ordo Prophetarum raises too broad and problematical a question of the influence of the liturgical drama to be treated here. See Young, ii, 170–171.

¹³ Young, ii, 125.

¹⁴ York, xii, ed. Lucy T. Smith, York Plays (Oxford, 1885), pp. 93–98, with all the prophecies spoken by the Prologue; Towneley, vii, although the play of Moses and the Exodus intervenes before the Christmas scenes; Chester, v; True-Coventry, ed. Hardin Craig, Two Coventry Corpus Christi Plays, EETS, ES, lxxxvii (London, 1902), in the pageant of Shearmen and Taylors as prologue to Annunciation and interlude between shepherd and Herod scenes, and in the pageant of Weavers as prologue to Purification.

¹⁵ In Ludus Coventriae, ed. K. S. Block, EETS, ES, cxx (London, 1922), pp. 57–62, as a tree-of-Jesse play; in the Ste.-Geneviève Nativité de N. S. Jésus-Christ, ed. A. Jubinal, Mystères inédits du quinzième siècle (Paris, 1837), ii, 22–28, as the cry for deliverance of the fathers in limbo, before the scene of the marriage of Mary; in the Künzelsau Corpus Christi play of 1479, ed. A.Schumann (Künzelsau [1925],) pp. 50–51; in the Eger Corpus Christi play, ed. G. Milchsack, Bibl. des litt. Vereins in Stuttgart, clvi (Tübingen, 1881), pp. 40–41.

¹⁶ In the fourteenth-century Dirigierrolle of a Passion play at Frankfurt, ed. R. Froning, Das Drama des Mittelalters (Stuttgart [1891]), ii, 340–342; and the related Frankfurt Passion play of 1493, ibid., ii, 379–389.

¹⁷ Texts: Young, ii, 9–20.

¹⁸ Texts from Bilsen, Freising, and Fleury (St. Benoît-sur-Loire), ibid., ii, 75, 93, 84.

¹⁹ Text: ibid., ii, 514–516.

²⁰ York and Lichfield records, Chambers, Mediaeval Stage, ii, 377, 399. V. Shull, “Clerical Drama in Lincoln Cathedral, 1318 to 1561,” PMLA, lii (1937), 946–966, finds no definite reference to a play of the shepherds at Lincoln.

²¹ Protevangelium Jacobi and the Gospel of Pseudo-Matthew. See Young, ii, 5.

²² See thirteenth-century Rouen and Fleury texts, ibid., ii, 16–19, 84–85, such pieces as Pax in terris nunciatur, Salve virgo singularis, and Salve Rex seculorum.

²³ M. Carey, The Wakefield Group in the Towneley Cycle (Johns Hopkins diss., 1926), pp. 116–117.

²⁴ Another exception, less well-known, occurs in the second play of the Magi at York (xvii, ed. Smith, p. 134), where the dialogue of the three kings with the Ancilla at the manger recalls the Quem quaeritis, instead of the corresponding dialogue between kings and obstetrices from the liturgical Magi play, which would seem a likelier model. Such a reminiscence as this in York, xvii, and still more the textual relationship of the Shrewsbury Officium Pastorum with the liturgical drama on the one hand and with the York shepherds play (York, xv) on the other, contribute important evidence for the relation of the York cycle to the liturgical drama. See O. Waterhouse, The Non-Cycle Mystery Plays, EETS, ES, civ (London, 1909), p. xx, and Frances H. Miller, “Metrical Affinities of the Shrewsbury Officium Pastorum and its York Correspondent,” MLN, xxxiii (1918), 91–95.

²⁵ M. Böhme, Das lateinische Weihnachtsspiel (Leipzig, 1916), pp. 44–46.

²⁶ Text: Young, ii, 117–120.

²⁷ Ibid., ii, 172–190.

²⁸ Ibid., ii, 75–80.

²⁹ Ibid., ii, 93–97.

³⁰ Ed. H. E. Moltzer, De middelnederlandsche dramatische Poezie (Groningen, 1875), pp. 505–506.

³¹ G. Cohen, Mystères et moralités du ms. 617 de Chantilly (Paris, 1920), p. cxix, notes the correspondences between the Maastricht and Bilsen texts.

³² Das lateinische Weihnachtsspiel, p. 44.

³³ S. B. Hemingway, English Nativity Plays (New York, 1909), p. 236.

³⁴ Carey, The Wakefield Group, pp. 116–117, 120–121.

³⁵ Texts: Young, ii, 59–97.

³⁶ On these variants, see K. Young, Officium Pastorum, Trans. Wisconsin Acad, of Sciences, Arts, and Letters, xvii, Pt. I (1912), pp. 344–362.

³⁷ Young, The Drama of the Mediaeval Church, ii, 59, agrees with Wilhelm Meyer and Böhme in thinking this scene original with the Officium Stellae.

³⁸ Ed. J. Klapper, Germanistische Abhandlungen, xxi (Breslau, 1904), p. 105.

³⁹ Ed. Moltzer, p. 506.

⁴⁰ Young, ii, 32–50.

⁴¹ H. Anz, Die lateinischen Magierspiele (Leipzig, 1905), p. 120. And see O. Sengpiel, Die Bedeutung der Prozessionen für das geistliche Spiel des Mittelalters in Deutschland, Germ. Abh., lxvi (Breslau, 1932), p. 138.

⁴² For example, note the implication of the greetings in Chantilly Nativité i ed. Cohen, Mystères et moralités, pp. 8–10, and in the Passion of Arras, ed. J.-M. Richard, Le mystère de la Passion: texte du manuscrit 697 de la bibliothèque d'Arras (Arras, 1891), pp. 33–38.

⁴³ On the antiquity of these allegorical explanations, see G. Duriez, La théologie dans le drame religieux en Allemagne au moyen âge (Lille, 1914), pp. 258–259, and Young, ii, 32.

⁴⁴ Young, ii, 57.

⁴⁵ Texts, ibid., ii, 53–106. On the messenger-rôle, see Anz, Die lateinischen Magierspiele, pp. 67–68, and I. Sondheimer, Die Herodes-Partien im lateinischen liturgischen Drama und in den französischen Mysterien (Halle, 1912), pp. 39–64, 87–92.

⁴⁶ Young, ii, 53.

⁴⁷ Ibid.; Anz, Die lateinischen Magierspiele, p. 51, n. 3; R. E. Parker, “The Reputation of Herod in Early English Literature,” Speculum, viii (1933), 59–67.

⁴⁸ See G. R. Owst, Literature and Pulpit in Mediaeval England (Cambridge, 1933), pp. 493–494, on the influence from sermon-satire of the proud nobleman and feudal tyrant.

⁴⁹ Anz, Die lateinischen Magierspiele, p. 62. This divergence from the order of the Gospel has no source in such apocryphal narrative as the Protevangelium Jacobi, tr. M. R. James, The Apocryphal New Testament (Oxford, 1924), p. 47, or the Gospel of Pseudo-Matthew, ed. C. von Tischendorf, Evangelia Apocrypha (Leipzig, 1876), p. 83, nor in the representative group of harmonies of the Gospels and commentaries cited at the end of this article. The only places aside from the drama where I have seen this order definitely indicated are in the fourteenth-century German poem Die Erlösung, ed. F. Maurer, Deutsche Literatur: Reihe Geistliche Dichtung des Mittelalters, vi (Leipzig, 1934), p. 156, which includes passages clearly translated from an Officium Stellae and a Visitatio Sepulchri; and in two of John Mirk's English sermons of c. 1400, ed. T. Erbe, Mirk's Festial, EETS, ES, xcvi (London, 1905), pp. 35, 48.

⁵⁰ Sondheimer, Die Herodes-Partien, p. 65.

⁵¹ Ibid., pp. 93–100, 119; Young, ii, 57. Owst, Literature and Pulpit, p. 494, suggests that the vernacular development of Herod's knights owed something to the conventional picture of decadent knighthood in sermons.

⁵² Texts of Rouen, Fleury, Laon: Young, ii, 72, 87, 105.

⁵³ Young, ii, 103–106.

⁵⁴ Texts from St. Martial of Limoges, Fleury, and Freising; ibid., ii, 109–120.

⁵⁵ E.g., in the fourteenth-century St. Gall Christmas play, ed. Klapper, pp. 116–118, and Maastricht Paaschspei, ed. Moltzer, pp. 511–512.

⁵⁶ Sondheimer, Die Herodes-Partien, pp. 119–120.

⁵⁷ Ed. Cohen, Mystères et moralités, pp. 3–23.

⁵⁸ Ed. Moltzer, pp. 505–513.

⁵⁹ Ed. Klapper, pp. 77–119.

⁶⁰ Ed. Jubinal, Mystèries inédits, ii, 79–138.

⁶¹ Ed. K. F. Kummer, Erlauer Spiele (Vienna, 1882), pp. 15–30.

⁶² R. H. Wilson, “The Stanzaic Life of Christ and the Chester Plays,” SP, xxviii (1931), 413–132.

⁶³ Ed. Milchsack, pp. 59–78.

⁶⁴ Ed. Schumann, pp. 61–75.

⁶⁵ Ed. Emile Roy, Le mystère de la Passion en France du xiv ^e au xvi ^e siècle (Dijon [1903–04]) pp. 59–69.

⁶⁶ Ed. Richard, pp. 33–50.

⁶⁷ Ed. G. Paris and G. Raynaud, Le mystère de la Passion d'Arnould Gréban (Paris, 1878), pp. 67–88.

⁶⁸ Young, i, 423.

⁶⁹ Ibid., i, 435.

⁷⁰ For example in the Passion plays of Eger, ed. Milchsack, pp. 281–283, and Sterzing, ed. J. E. Wackernell, Altdeutsche Passionsspiele aus Tirol (Graz, 1897), pp. 199–201.

⁷¹ E. Mâle, L'art religieux du xii ^e siècle en France, 3rd ed. (Paris, 1928), pp. 132–133, for lack of evidence retreats from his former position that the liturgical drama influenced the form of the Resurrection-motif in twelfth-century art. H. Schrade, Ikonographie der christlichen Kunst: I. Die Auferstehung Christi (Berlin, 1932), pp. 73, 84, sees no influence of the drama on iconography of the Resurrection. He considers both as products of the same desire to give concrete form to the mystery.

⁷² Text: Young, i, 421–429.

⁷³ Ibid., i, 161–177.

⁷⁴ K. W. C. Schmidt, Die Darstellung von Christi Höllenfahrt in den deutschen und den ihnen verwandten Spielen des Mittelalters (Marburg diss., 1915), pp. 16–29, and diagram p. 58.

⁷⁵ The Harrowing scenes in the fragmentary thirteenth-century Easter play from Kloster Muri, ed. E. Hartl, Osterspiele, Deutsche Literatur: Reihe Drama des Mittelalters, ii (Leipzig, 1937), pp. 273–290, and the fourteenth-century St. Gall Passion play, ed. E. Wolter, Germ. Abh., xli (Breslau, 1912), are rare among vernacular versions in adhering fairly closely to the narrow liturgical range of the Elevatio and the Klosterneuburg play.

⁷⁶ Easter plays of Klosterneuburg, Benedictbeuern, and Tours, Young, i, 421–447, and the fragment from Sulmona, i, 701–708. The stanzas composing this scene in the German versions differ from the Tours text.

⁷⁷ W. Meyer, Fragmenta Burana (Berlin, 1901), pp. 94–97, 104–105.

⁷⁸ On the German vernacular development, see Duriez, La théologie dans le dramae religieux en Allemagne au moyen âge, pp. 500–509.

⁷⁹ E.g. in the fourteenth-century St. Gall Passion play, ed. Wolter, and Frankfurt Dirigierrolle, ed. Froning, Das Drama des Mittelalters, ii, 363.

⁸⁰ i, 239–450.

⁸¹ Ibid., i, ix.

⁸² Such as the thirteenth-century Easter play of Reims, ed. P. Meyer, Romania, xxxiii (1904), 239–45, apparently based on a simple Visitatio containing only Quem auaeritis and Victimae paschali; or the brief Visitatio scene which concludes the fourteenth-century Passion of the Palatums manuscript, ed. Grace Frank, CFMA (Paris, 1922).

⁸³ Text: Young, i, 413–419.

⁸⁴ Text: ibid., ii, 516–518.

⁸⁵ See for example the play from Trier, described by W. Creizenach, Geschichte des neueren Dramas (2nd ed., Halle, 1911), i, 103–104, ed. E. Hartl, Osterspiele, pp. 48–58; and an example of an Easter play retaining the Visitatio in the midst of comic elaboration, ed. H. Rueff, Das rheinische Osterspiel der Berliner Handschrift MS. ger. Fol. 1219, Abh. der Gesellschaft der Wissenschaften zu Göttingen, Phil.-hist. Klasse, N.F., xviii (Berlin, 1925), pp. 137–206.

⁸⁶ The fourteenth-century St. Gall Passion play, ed. Wolter, and Frankfurt Dirigierrolle, ed. Froning, Das Dramas des Mittelalters, ii, 340–373.

⁸⁷ The Passion Play of Sterzing, ed. Wackernell, Altdeutsche Passionsspiele aus Tirol, pp. 3–276, of which several versions survive, and the Passion play of Eger, ed. Milchsack, and of Donaueschingen, ed. F. J. Mone, Schauspiele des Mittelalters (Karlsruhe, 1846), ii, 183–350.

⁸⁸ For example, in York, xxxviii and Towneley, xxvi, and the Bodleian Burial and Resurrection, ed. F. J. Furnivall, The Digby Plays, EETS, ES, lxx (London, 1896), p. 205, as noted by Chambers, ii, 432, and P. E. Kretzmann, The Liturgical Element in the Earliest Forms of Medieaval Drama (Minneapolis, 1916), pp. 151–153.

⁸⁹ Ed. Jubinal, Mystères inédits, ii, 303–304. See also Chester, xviii, and for less obvious examples, the Passion of Semur, ed. Roy, Le mystère de la Passion, p. 177; the Passion of Arras, ed. Richard, p. 251; Greban's Passion, ed. Paris and Raynaud, p. 383, and the Passion of Mons, ed. G. Cohen, Le livre de conduite du régisseur … pour le mystère de la Passion joué à Mons en 1501 (Paris, 1915), p. 415 and n. 8.

⁹⁰ The tenth-century St. Gall version of the trope, Young, I, 201.

⁹¹ Texts: Young, I, 273–298, 336–368, 374–410.

⁹² Ed. Jubinal, Mystères inédits, ii, 365, 367, noted by Jean G. Wright, A Study of the Themes of the Resurrection in the Mediaeval French Drama (Bryn Mawr, 1935), p. 123.

⁹³ Ed. Roy, Le mystère de la Passion, p. 182.

⁹⁴ Ed. Furnivall, The Digby Plays, p. 223.

⁹⁵ Ed. Froning, Das Drama des Mittelalters, iii, 846–847.

⁹⁶ Ed. W. P. Shepard, La Passion provençale du manuscrit Didot, SATF (Paris, 1928), pp. 94–95. See also another fourteenth-century play, the Passion du Palatinus, ed. Frank, p. 76, and note, p. 92; and the Ste.-Geneviève Passion, ed. Jubinal, Mystères inédits, ii, 309.

⁹⁷ Young, I, 27.

⁹⁸ Ed. Frank, p. 76 and note, p. 92.

⁹⁹ Ed. Shepard, p. 105, and note, p. 136.

¹⁰⁰ Ed. Jubinal, Mystères inédits, ii, 311, 379.

¹⁰¹ Ed. Roy, Le mystère de la Passion, p. 189.

¹⁰² Ed. Grace Frank, CFMA (Paris, 1925), p. 26.

¹⁰³ Ed. A. Jeanroy, CFMA (Paris, 1925), p. 77.

¹⁰⁴ Texts: Young, i, 307–335.

¹⁰⁵ Texts: ibid., i, 336–368, 385–392, 398–408, 413–419. On the difficulties of fitting together this material, see ibid., i, 336.

¹⁰⁶ E. A. Wright, Dissemination of the Liturgical Drama, p. 89.

¹⁰⁷ See Young, ii, index: Grave-cloth. Mâle, L'art religieux du xii ^e siècle en France (3rd ed.), pp. 130–131, thinks the appearance of this motif in twelfth-century French art derived from the liturgical plays.

¹⁰⁸ Young, I, 268, and O. Schüttpelz, Der Wettlauf der Apostel und die Erscheinungen des Peregrinispiels im geistlichen Spiel des Mittelalters, Germ. Abh., lxiii (Breslau, 1930), p. 5.

¹⁰⁹ E. A. Wright, Dissemination of the Liturgical Drama, p. 90.

¹¹⁰ As for instance in the Vienna Easter play, ed. E. Hartl, Osterspiele, p. 119, with the words seht an das Tuch; and the Möns Passion, ed. Cohen, Le livre de conduite, p. 414, as indicated by stage directions.

¹¹¹ Young, i, 659.

¹¹² E. A. Wright, Dissemination of the Liturgical Drama, p. 89.

¹¹³ Texts from Rouen, Fleury, and Origny, Young, i, 371, 660, 661, 397, 418; Barking, ibid., i, 383.

¹¹⁴ Jubinal, Mystères inédits, ii, 375–379.

¹¹⁵ Victor of Capua, J.-P. Migne, Patrologia Latina, lxviii col. 355; Augustine, De Consensu Evangelistarum, Migne, P.L., xxxiv, col. 1202.

¹¹⁶ Honorius of Autun, Elucidarium, Migne, P.L., clxxii, col. 1127; Peter Comestor, Historia Scholastica, in Evangelia, Migne, P.L., cxcviii, col. 1639; Jacobus a Voragine, Legenda Aurea, ed. T. Graesse (Dresden, 1846), p. 240.

¹¹⁷ Besides the familiar Dum transisset, which was the third responsory of Easter matins, and the antiphon Maria Magdalena et alia (See texts, Young, i, 323, 329, etc.), various other liturgical pieces appeared, such as: Quis revolvet (Young, i, 259 ff.), Ardens est cor meum (i, 269), Ubi est Christus (i, 271), the verses Almum te (i, 284), Mane prima sabbati (i, 277, 287), Hortum predestinatio (i, 291), O quam magno dies isla (i, 293), Jesu nostra redemptio (i, 331).

¹¹⁸ Texts: Young, i, 441, 393 (and see note, i, 666), 347, 382.

¹¹⁹ Young, ii, 516. Very possibly other stanzas were used in the full version of which this offers only the rôle of the third Mary.

¹²⁰ Texts from Nuremberg, Munster, Wolfenbüttel, Zwickau: Young, i, 398, 664, 668, 671.

¹²¹ See L. Wirth, Die Oster- und Passionsspiele bis zum XVI. Jahrhundert (Halle, 1889), pp. 236, 243, 253, 258, 265, and Rueff, Das rheinische Osterspiel, p. 173.

¹²² W. Meyer, Fragmenta Burana, pp. 106–120. See Young's discussion of Meyer's theory, I, 677–687.

¹²³ Texts: Young, i, 374–392, 398–401, 667.

¹²⁴ Texts: ibid., I, 382, 413. On the general similarity of the Origny play to texts from Germany, see E. A. Wright, Dissemination of the Liturgical Drama, pp. 88–90.

¹²⁵ Texts: Young, i, 439, 285, 678, 618, 670.

¹²⁶ Ed. Shepard, pp. 77–78, and note, p. 128.

¹²⁷ Ed. A. Jeanroy and H. Teulié, Mystères provençaux du xv ^e siècle (Toulouse, 1893), p. 108.

¹²⁸ E.g., the Rhenish play, ed. Rueff, pp. 158–159.

¹²⁹ For English evidence, see G. C. Taylor, “The Relation of the English Corpus Christi Play to the Middle English Religious Lyric,” MP, v (1907–08), 1–38; “The English ‘Planctus Maria’,” MP, iv (1906–07), 605–637.

¹³⁰ See rubrics in Young, I, passim, and discussion of the manner of representation, ibid., i, 234, 402.

¹³¹ K. Dürre, Die Mercatorszene im lateinisch-liturgischen, altdeutschen und altfranzösischen religiösen Drama (Göttingen diss., 1915), p. 16.

¹³² Texts: Young, I, 402–407, 413–450, 673–682.

¹³³ Fragmenta Burana, pp. 91–98, 106–122.

¹³⁴ Die Mercatorszene, esp. pp. 96–100. Dürre thinks the earliest version is the fragmentary text from Vich, pp. 15–25.

¹³⁶ Young, I, 677–682.

¹³⁶ Ed. Frank, pp. 73–75 and note p. 92.

¹³⁷ Ed. Shepard, pp. 79–82, intro. pp. xxxvii–viii, and notes pp. 128–130.

¹³⁸ Ed. Jeanroy and Teulié, Mystères provençaux du xv ^e siècle, pp. 106–108.

¹³⁹ Mâle, L'art religieux du xii ^e siècle (3rd ed.), pp. 133–135, offers additional evidence for knowledge of this dramatic tradition in the south of France, in twelfth-century sculptural representations of the spice-buying at Saint-Gilles, at the church of Notre Dame of Beaucaire, at Saint-Trophime in Aries, and in work under Provençal influence at Modena.

¹⁴⁰ See Dürre, Die Mercatorszene, pp. 38–48, 96–100; A. Bäschlin, Die altdeutschen Salbenkrämers piele (Basel diss., 1929); Rueff, Das rheinische Osterspiele, pp. 115–126.

¹⁴¹ Especially in the Palatinus Passion and the Passions of the Ste.-Geneviève manuscript, Semur, and Arras. See P. Abrahams, “The Mercator-Scenes in Mediaeval French Passion Plays,” Medium Aevum, iii (1934), 112–123.

¹⁴² Dürre, Die Mercatorszene, pp. 49–77; J. G. Wright, Study of the Themes of the Resurrection, pp. 116–120.

¹⁴³ Texts: Young, i, 453–483, 691–693. Twelfth-century Lichfield record, Chambers, ii, 377.

¹⁴⁴ O. Schüttpelz, Der Wettlauf der Apostel und die Erscheinungen des Peregrinispiels, p. 80.

¹⁴⁵ For all variations of content in the Peregrini plays, see Schüttpelz's charts, pp. 153–156.

¹⁴⁶ Schüttpelz, pp. 92–138.

¹⁴⁷ Ibid., pp. 118–122. Mâle, L'art religieux du xii ^e siècle (3rd ed.), p. 137, thinks the liturgical Peregrini caused the appearance of this scene in twelfth-century art, with the pilgrim dress of the characters.

¹⁴⁸ Ed. Froning, Das Drama des Mittelalters, ii, 370.

¹⁴⁹ Ed. E. Norris, The Ancient Cornish Drama (Oxford, 1859), ii, 95–103.

¹⁵⁰ Text: Young, ii, 518–520. And see Schüttpelz, pp. 101–103.

¹⁵¹ For example, see the Emmaus scene of the Passion Didot, ed. Shepard, pp. 97–100, and note pp. 134–135.

¹⁵² Schüttpelz, pp. 70–75, and chart, pp. 155–156; Young, I, 688–689.

¹⁵³ Nothing approaching the form of the antiphon appears in the variant readings of this passage in the variorum ed. of the Vulgate New Testament. J. Wordsworth and H. J. White (Oxford, 1889–98), i, 642.

¹⁵⁴ Ed. Milchsack, pp. 320–324; noted by Schüttpelz, p. 75.

¹⁵⁵ Stephan Beissel, S. J., Entstehung der Perikopen des römischen Messbuches, supplement to Stimmen aus Maria-Laach, xcvi (Freiburg i.Br., 1907), pp. 170–174, 193, shows that there has been very little change since the ninth century in the pericopes of the Mass, and especially little in the season from Epiphany to Pentecost. He supplies charts of the specific Gospel passages in early missals, indicating correspondences to the modern missal.

¹⁵⁶ Young, I, 452. The Emmaus narrative from Luke xxiv was used as the liturgical Gospel of Easter Monday.

¹⁵⁷ Ed. Wolter, pp. 233–235.

¹⁵⁸ Ed. Frank, pp. 69–76.

¹⁵⁹ Ed. Shepard, pp. 77–105.

¹⁶⁰ Ed. Jubinal, Mystères inédits, pp. 298–311, 359–379.

¹⁶¹ Ed. Roy, Le mystère de la Passion, pp. 175–189.

¹⁶² Ed. Milchsack, pp. 297–326.

¹⁶³ York, xxxviii, xxxxix, xl, xlii, xliii.

¹⁶⁴ Towneley, xxvi, xxvii, xxviii, xxix.

¹⁶⁵ Chester, xviii, xix, xx.

¹⁶⁶ Ed. Block, pp. 320–352.

¹⁶⁷ Ed. Norris, The Ancient Cornish Drama, ii, 3–121.

¹⁶⁸ Jacobus a Voragine, Legenda Aurea, ed. T. Graesse (Dresden, 1846), pp. 239–241.

¹⁶⁹ Migne, P.L., clxxii, col. 1127.

¹⁷⁰ Ed. Richard, pp. 245–277.

¹⁷¹ Ed. Paris and Raynaud, pp. 381–133.

¹⁷² Ed. Froning, Das Drama des Mittelalters, ii, 369.

¹⁷³ Ibid., iii, 845.

¹⁷⁴ Ed. Block, pp. 321–322.

¹⁷⁵ Ed. Norris, The Ancient Cornish Drama, ii, 35–41.

¹⁷⁶ J.-P. Migne, Patrologia Latina, xxvi, col. 26–28 on Nativity; col. 216–218 on Resurrection; and Jerome's translation of Origen's homilies on Luke, hom, xii, xiii on sheperds, ibid., col. 242–246.

¹⁷⁷ Ibid., xv, col. 1566–73 on Nativity; col. 1841–50 on Resurrection.

¹⁷⁸ Ibid., xxxiv, col. 1079–84 on Nativity; col. 1196–1216 on Resurrection.

¹⁷⁹ Ibid., lxviii, col. 258–261 on Nativity; col. 353–358 on Resurrection.

¹⁸⁰ Ibid., xcii, col. 12–15 (Matt.), 331–348 (Luke) on Nativity; col. 129–131 (Matt.), 294–299 (Mark), 622–634 (Luke), 917–922 (John) on Resurrection. Bede's homilies, ibid., xciv, col. 34–38, 50–53, Bk. i, horn, vi and ix on Nativity; col. 133–154, Bk. ii, hom. i–iv on Resurrection.

¹⁸¹ Ibid., lxxvi, col. 1103–05, 1110–14, hom. viii, x on Nativity; col. 1169–83, 1188–96, hom. xxi–xxiii, xxv on Resurrection.

¹⁸² Ibid., cx, col. 9–19, hom. i–ii, iv–v, vii on Nativity; col. 141–145, 160–163, 171–173, 175–180, 182–185, 189–192, hom. iv, vi, xii, xvi, xviii, xx–xxi, xxv on Resurrection.

¹⁸³ Ibid., cxiv, col. 72–78 (Matt.), 249–250 (Luke) on Nativity; col. 177–178 (Matt.), 241–244(Mark), 350–355 (Luke, 422–426 (John)on Resurrection. Also Exposition in Quatuor Evangelia, ibid., col. 865–867 on Magi.

¹⁸⁴ Ed. J. Mabillon, Sancti Bernardi Abbatis Clarae-Vallensis Opera Omnia (Paris, 1839), iii, col. 1743–63, 5 sermons In Nativitate Domini, and col. 1779–93,3 sermons In Epiphania Domini.

¹⁸⁵ Migne, P.L. clxxii, col. 1123–25 on Nativity; col. 1126–27 on Resurrection.

¹⁸⁶ Ibid., cxcviii, col. 1539–13 on Nativity; col. 1635–44 on Resurrection.

¹⁸⁷ Jacobus a Voragine, Legenda Aurea, ed. Graesse, pp. 39–47, 62–66, 87–94, cap. vi, x, xiv on Nativity, Innocents, Epiphany; and pp. 235–245, cap. liv, on Resurrection.

¹⁸⁸ Ed. C. Babington and J. R. Lumby, Polychronicon Rannulphi Higden (Rolls Series, 9 vols., London, 1865–86), -iv, 252–292, on Nativity, iv, 332–362 on Resurrection.

¹⁸⁹ La Passion de Clermont-Ferrand (10th-c), ed. G. Paris, Romania ii (1873), 295–314. Le romanz de Saint Fanuel et de Sainte Anne et de Nostre Dame et de Nostre Segnar et de ses Apostres, ed. C. Chabaneau, Revue des langues romanes, xxviii (1885), 118–123, bibl.; 157–258, text; xxxii (1888), 360–409, notes. Ll. 1711–2195 on Nativity; ll. 3411–3627 on Resurrection.

La Passion des jongleurs, ll. 1–1554 ed. H. Theben, Die altfranzösische Achtsilbnerredaktion der “Passion” (Greifswald diss., 1909); and ll. 1545–3327 ed. E. Pfuhl, Die weitere Fassung der allfranzösischen Dichtung in achtsilbigen Reimpaaren über Christi Höllenfart und Auferstehung (Greifswald diss., 1909). LI. 2377–3250 on Resurrection.

Le livre de la Passion, ed. Grace Frank, CFMA (Paris, 1930). Ll. 2191–2292 on Resurrection.

La Passion d'Autun, ed. Grace Frank, SATF (Paris, 1934). Ll. 1948–2117 of the Passion de Biard on Resurrection.

¹⁹⁰ The Passion of Our Lord, ed. R. Morris, An Old English Miscellany, EETS, xlix (London, 1872), pp. 37–57. Ll. 553–642 on Resurrection.

The Middle English Evangelie, ed. Gertrude A. Campbell, PMLA, xxx. (1915), 529–613. Pp. 581–587 on Nativity; pp. 604–607 on Resurrection.

The Southern Passion, ed. Beatrice D. Brown, EETS, clxix (London, 1927). Ll. 1785–2416 on Resurrection.

The Northern Passion, ed. Frances A. Foster, EETS, cxlv, cxxvii (London, 1913–16), i, 234–249 on Resurrection; and ed. F. A. Foster and W. Heuser (EETS, clxxxiii, London, 1930), ll. 3311–3548.

The Stanzaic Life of Christ, ed. Frances A. Foster, EETS, clxvi (London, 1926). Ll. 337–2140, 3165–3588 on Nativity, ll. 7061–9532 on Resurrection.

Cursor Mundi, ed. R. Morris, EETS, lvii, 5 vols. (London, 1874–92), ii, 643–665 on Nativity, and iii, 985–991 and 1069–78 on Resurrection.

¹⁹¹ Das alte Passional, ed. K. A. Hahn (Frankfurt a.M., 1857), pp. 18–26 on Nativity, pp. 89–108 on Resurrection.

Die Erlösung, ed. F. Maurer, ll. 1157–2272 on prophets, ll. 3129–3956 on Nativity, ll. 5658–5802 on Resurrection.

¹⁹² John Mirk's Festial (c. 1400), ed. T. Erbe, pp. 21–26, hom. 6, De Nativitate Domini; pp. 35–38, hom. 9, De Innocenlibus; pp. 47–52, hom. 12, De Epiphania Domini; pp. 129–132, hom. 30, De Festo Pasche; pp. 203–208, hom. 49, De St. Maria Magdalena.

Speculum Sacerdotale (15th-c), ed. E. H. Weatherly, EETS, cc (London, 1936).

¹⁹³ J. E. Wells, A Manual of the Writings in Middle English 1050–1400 (New Haven. 1926), pp. 301–303.

¹⁹⁴ Maurer, p. 7.

¹⁹⁵ Ibid., p. 20.

¹⁹⁶ Ibid., 11. 89–96.

¹⁹⁷ Ibid., p. 8.

¹⁹⁸ Ed. Froning, Das Drama des Mittelalters, ii, 340–341.

¹⁹⁹ Ibid., ii, 379–389.

²⁰⁰ Wirth, Die Oster- und Passimsspiele, pp. 304–305.

²⁰¹ Maurer, p. 8.

²⁰² R. H. Wilson, “The Stanzaic Life of Christ and the Chester Plays,” SP, xxviii (1931), 432.

Addenda to footnotes:

² … and see the curious arguments of R. Stumpf!, Kultspiele der Germanen als Ursprung des mittelalterlichen Dramas (Berlin, 1936), pp. 46–47; rev. N. C. Brooks, JEGP, xxxvii (1937), 300–305.

¹⁴⁰ Stumpf!, op. cit., pp. 222–319.