^{page 309 note 1} The italics are inserted by the present writer.

^{page 309 note 2} E. Wechssler, Die romanischen Marienklagen, Halle, 1893, p. 98.

^{page 309 note 3} E. K. Chambers, The Mediæval Stage, 2 vols., Oxford, 1903, Vol. ii, pp. 39-40.

^{page 310 note 1} G. C. Taylor, The English Planctus Mariœ, in Modern Philology, Vol. iv, pp. 636-637.

^{page 310 note 2} Of the Planctus Mariœ, both as an independent lyric and as a dramatic germ, the most valuable studies are the following: A. Schönbach. Ueber die Marienklagen, Graz, 1874; E. Wechssler, op. cit.; G. C. Taylor, op. cit.; and H. Thien, Ueber die englischen Marienklagen, Kiel, 1906.

^{page 310 note 3} By passion-play I mean a play that actually deals with the complete Passion itself, either as an independent play, or as a member of a more comprehensive play or group of plays.

^{page 310 note 4} For documentary evidence see, for example, R. Froning, Das Drama des Mittelalters, pp. 758-813; F. J. Mone, Schauspiele des Mittelalters, Karlsruhe, 1846, Vol. ii, pp. 131-151; A. Fichier, Ueber das Drama des Mittelalters in Tirol, Innsbruck, 1850, pp. 115-140; F. Torraca, Il Teatro Italiano dei Secoli xiii, xiv e xv, Firenze, 1885, pp. 47 ff.

^{page 311 note 1} For documentary evidence see, for example, W. Meyer, Fragmenta Burana, Berlin, 1901, p. 124; Bullettino dell' Istituto Storico Italiano, No. 8, 1889, p. 164; Froning, pp. 362, 296-299; Mone, Vol. ii, pp. 121, 327 ff.; A. Jubinal, Mystères inédits, Paris, 1837, pp. 236-237, 247-252; Torraca, pp. 166 ff.; Ludus Coventriœ, edited by J. O. Halliwell, London, 1841, pp. 321 ff.; The Chester Plays, edited by T. Wright, London, 1843–47, Vol. ii, pp. 61-64; The Towneleis Plays, edited by England and Pollard, London, 1897, pp. 267-272.

^{page 311 note 2} See the anonymous article L'Évangile de la Passion, in Le Messager des Fidèles (Petite Revue Bénédictine), 3me Année, 1886-87. p. 64. It is unfortunate that this admirable article has been so generally overlooked.

^{page 312 note 1} Matt. xxvi, 1—xxvii, 61.

^{page 312 note 2} Mare. xiv. 1—xv, 46.

^{page 312 note 3} Luc. xxii. 1—xxiii, 53.

^{page 312 note 4} Juan. xviii, 1—xix, 42.

^{page 313 note 1} Four Lectures on the Offices and Ceremonies of Holy Week, as performed in the Papal Chapels, by Cardinal Wiseman, Baltimore, 1854, pp. (67-68. Although Cardinal Wiseman is describing the singing of the Passion in the Sixtine Chapel, his description applies, in all essential features, to the same liturgical observance in all modern churches that pretend to adequate ceremonial.

^{page 313 note 2} The essentials of true drama are two: (1) the presentation of a story in action, and (2) inpersonation of the characters concerned. See Professor Manly's illuminating article in Modern Philology, Vol. iv, pp. 577-595.

^{page 314 note 1} H. Thurston, Lent and Holy Week, London, 1904, pp. 230-231. See below, p. 330.

^{page 314 note 2} Monsieur l'Abbé Müller, in Bulletin historique et philologique du Comité des travaux historiques, Année 1902, Paris, 1903. p. 133.

^{page 314 note 3} See below, p. 331.

^{page 315 note 1} Joann. xviii, 4-8. I believe that this passage in the liturgical passio has not been sufficiently considered as to its possible influence upon the original composition of the Quem quœritis Introit trope of Easter.

^{page 315 note 2} These tables, based primarily upon the evangeliaria and missalia in the Bodleian Library at Oxford, with a few additions from Paris manuscripts, do not pretend to be exhaustive. I know of no similar list in print, and I consider the present list entirely adequate for the deductions that I wish to make. The definitive list of such litterae will appear eventually in the monumental Paleografia Musicale Vaticana now being prepared by the distinguished liturgiologist, The Reverend Henry Marriott Bannister, M. A., of Rome. I await a more adequate opportunity for expressing my innumerable obligations to the inspiring erudition and generosity of The Reverend Mr. Bannister. In the present case I would thank him for my first acquaintance with the general subject, and, more particularly, for several of the citations from manuscripts in Rome, Modena, and Nonantula. Mr. Bannister, however, is responsible neither for the arrangement nor for the interpretation of data presented herewith.

^{page 317 note 1} My acquaintance with this manuscript is due to the kindness of The Reverend Father Dom G. M. Beyssac, O. S. B.

^{page 321 note 1} See ibid. for a communication concerning the litterae u, t, and g in an “Evangéliaire de Noyon” of the 9th century. In the communication there is no indication as to the part of the passio marked by each littera.

^{page 322 note 1} E. DuMéril, Les Origines Latines du Théâtre Moderne, Leipzig and Paris. 1897, p. 47, note 3.

^{page 322 note 2} D. Magri, Notizia de' Vocaboli Ecclesiastici, Venezia, 1732, p. 339; Wetzer und Welter, Kirchenlexikon, Vol. ix, col. 1575. Cf. Grove's Dictionary of Music and Musicians, edited by J. A. F. Maitland, Vol. iii, New York, 1907, p. 646.

^{page 322 note 3} See Sepet, in Bibliothèque de l'École des Chartes, Vol. xxviii, 1867, p. 13.

^{page 322 note 4} H. Thurston, Lent and Holy Week, London, 1904, pp. 230-231.

^{page 322 note 5} Grove's Dictionary, ed. cit., Vol. iii, p. 646. No document is given in support of this series. As may be inferred from my tables above, I have encountered no manuscript in which the words of the Judaei are marked with a t. As to the ultra-modern practice of assigning the part of the Jewish crowd to a choir, called turba, see Cardinal Wiseman's description quoted above.

^{page 322 note 6} Wetzer und Welter, Kirchenlexikon, Vol. ix, col. 1575.

^{page 322 note 7} Grove's Dictionary, ed. cit., Vol. iii, p. 646. No document is given in support of this series. I have seen no manuscript in which the words of the Judaei are marked with the combination ch.

^{page 323 note 1} M. Wilmotte, Études critiques sur la tradition littéraire en France, Paris, 1909. pp. 10-12.

^{page 323 note 2} F. J. Mone, Schauspiele des Mittelalters, Karlsruhe, 1846. Vol. i, p. 60. One surmises that Mone misunderstood this 15th century passio, and that what he really had before him was the familiar series +, c, s. See Table vi above.

^{page 323 note 3} See Bulletin de la Société Nivernaise des Sciences, Lettres et Arts, 2e Série, Tome viii (1880), p. 472.

^{page 323 note 4} G. Durandi Rationale Divinorum Officiorum, Lib. vi, cap. lxviii, § vi; in the translation of C. Barthélémy, 5 Vols., Paris, 1854, Vol. iv, p. 56. On this point see Gerbert, De cantu et musica sacra, Vol. i, p. 533. Mr. Bannister has kindly given me the basis for the following note: Benevento, Chapter Library, ms. vi. 29, saec. xi-xii, fol. 126r sqq.,—Christus is marked plane; Narrator, lec<tio> or in lcc<tionc>; Judaei, sur<sum>. The brackets are mine.

^{page 324 note 1} On the general matter see Le Messager des Fidèles, 3me Année, 1886–87, p. 65; F. Madan. A Summary Catalogue, of the Western Manuscripts in the Bodleian Library at Oxford, Vol. v, p. 666; M. Sepet, Origines Catholiques du Théâtre Moderne, Paris, [1901], pp. 16–17.

^{page 324 note 2} H. J. Lawlor, The Rosslyn Missal, Henry Bradshaw Society, London, 1899, p. 128.

^{page 324 note 3} Missale ad usum … Sarum, edited by F. H. Dickinson, Burntisland, 1861–1883, col. 264. Cf. Grove's Dictionary, ed. cit., Vol. iii. p. 616.

^{page 325 note 1} Notker Balbulus died about the year 912. For the sources of information concerning this highly cultivated monk see L. Gautier, Les Tropes, Paris, 1886, pp. 19-20.

^{page 325 note 2} The brackets in this passage are mine.

^{page 325 note 3} Monumenta Germaniœ Historica, ed. G. H. Pertz, Vol. ii, Hanover, 1828, p. 103. Cf. Paléographie Musicale, Vol. iv, Solesmes, 1894, p. 9.

^{page 325 note 4} This letter is printed by Migne, Pat. lat., cxxxi, 1171. I quote from a later edition in Paléographie Musicale, Vol. iv, p. 10, based upon St. Gall ms. 381 and an abridged form of the letter in a manuscript of the Church of St. Thomas, Leipzig.

^{page 326 note 1} Small erasure.

^{page 327 note 1} These groups are adapted from those in Paléographie Musicale, Vol. iv, Solesmes, 1894, pp. 12-15.

^{page 328 note 1} It is not inconceivable that the sign † in this connection arose first as a scribal corruption of the letter t.

^{page 328 note 2} Cf. etc., common in Latin manuscripts.

^{page 328 note 3} See Table xv.

^{page 329 note 1} I have no confidence in the explanation Hiesus.

^{page 329 note 2} See Table xi, ms. F.

^{page 329 note 3} For pt I have no explanation.

^{page 329 note 4} I hesitate to interpret su and si from the Monte Cassino mss. cited in Table xx. These letters may have no connection with Notker's litierae. Su may mean sursum; si probably does not mean sibilatio, and certainly does not mean Synagoga.

^{page 330 note 1} Report of a communication from Monsieur l'Abbé Eugène Müller, in Bulletin historique et philologique du Comité des travaux historiques, Année 1902, Paris, 1903, p. 133.

^{page 330 note 2} H. Thurston, Lent and Holy Week, London, 1904, pp. 230-231, quoted above.

^{page 330 note 3} Grove's Dictionary, ed. cit., Vol. iii, p. 646.

^{page 330 note 4} The following writers seem to share in the opinion that the dialoguing began at an early period: H. Reidt (Das geistliche Schauspiel des Mittelalters, Frankfurt, 1868, p. 12), G. Cohen (Histoire de la mise en scène dans le théâtre religieux français du moyen âge, Bruxelles, 1906, p. 18), Du Méril (Les Origines latines du Théâtre Moderne, Leipzig and Paris, 1897, p. 47), and K. Hase (Das geistliche Schauspiel, Leipzig, 1858, p. 11).

^{page 331 note 1} A writer in Bulletin de la Société Nivernaise des Sciences, Lettres et Arts, 2e Série, Tome viii, 1880, p. 472, characterizes the practice of distributing the “parts” among three persons as “sans doute très moderne.” See also J. B. E. Pascal, Origines et Raison, de la Liturgie Catholique, Paris, 1863, col. 963-964.

^{page 331 note 2} See Le Messager des Fidèles (Petite Revue Bénédictine), 3me Année, 1886-87, No. 2, pp. 61, 65; Catalani, Rituale Romanum, Patavii 1760, Vol. ii, p. 188; Wetzer und Welter, Kirchenlexikon, Vol. ix, Freiburg. 1895, col. 1575; York Missal (Surtees Society, Vols. lix and lx), Vol. i, p. 102.

^{page 332 note 1} The evidence, no doubt, may be multiplied indefinitely. See Paris, Bibl. Nat., ms. lat. 14455. saec. xv, fol. 54r; Ibid., ms. lat. 10579, saec. xiii-xiv, fol. 67r. 72v; Paris, Bibl. S. Geneviève, ms. 1256, saec. xii, fol. 82v; E. Martène, Tractatus de antiquis ecclesiœ disciplina, Lugduni, 1706, pp. 205, 369, 372, 385, 386, 397; W. Kelly, Notices Illustrative of the Drama, London, 1865, p. 24; J. Brand, Popular Antiquities of Great Britain, edited by W. C. Hazlitt, 3 Vols., 1870, Vol. i, p. 216; Ordines Romani, Migne, Pat. lat., Vol. lxxviii, col. 953, 1013.

^{page 333 note 1} E. Martène, Tractatus de antiqua ecclesiae disciplina, Lugduni, 1706, pp. 222., 398; Messager des Fidèles, 3me Année, 1886-87, p. 66. Cf. Martigny, Dictionnaire des Antiquités Chrétiennes, Paris, 1865, pp. 150, 667-668; E. Hautcoeur, Documents liturgiques et nécrologiques de l'Église collégiale de Saint-Pierre de Lille, Lille, 1895, pp. 38, 42; Chambers, Vol. ii, p. 5; Voyages liturgiques de France …. par le Sieur de Moleon, Paris, 1718, pp. 205, 314, 396. 407.

^{page 333 note 2} F. J. Mone, Schauspiele des Mittelalters, Karlsruhe, 1846, Vol. i, p. 61.

^{page 333 note 3} Messager des Fidèles, 3me Année, 1886-87, p. 66; Martène, pp. 369, 370, 372, 377, 382, 386, 388; Paris, Bibl. Nat., ms. lat. 10579, saec. xiii-xiv, fol. 72v, ms. lat. 904, saec. xiii, fol. 90r. Cf. Durandus, Rationale Divinorum Officiorum, Lugduni, 1559, fol. 343r; Chambers, Vol. ii, pp. 5-6.

^{page 333 note 4} Messager des Fidèles, loc. cit., p. 67; Martène, pp. 379, 397. Cf. Dublin Review, Vol. cxvii (1895), p. 67.

^{page 333 note 5} Martène, pp. 198, 358.

^{page 333 note 6} Martène, pp. 207-208.

^{page 333 note 7} For information concerning the sepulchrum see Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvi, Part ii, p. 895.

^{page 333 note 8} Martène, p. 358; Messager des Fidèles, loc. cit., pp. 66-67.

^{page 334 note 1} In regard to the texts of this play see Froning, p. 283. On the nature of the play see Froning, pp. 278-283; W. Meyer, Fragmenta Burana, Berlin, 1901, pp. 64 ff.

^{page 334 note 2} Froning, pp. 291-292.

^{page 334 note 3} Matt. xxvi, 38. Cf. Matt. xxvi, 41; Mare. xiv, 34, 38; Lue. xxii, 40, 46.

^{page 334 note 4} Matt. xxvi, 39.

^{page 334 note 5} Matt. xxvi, 41.

^{page 335 note 1} Marc. xiv, 37. Cf. Matt. xxvi, 40.

^{page 335 note 2} Marc. xiv, 32. Cf. Matt. xxvi, 36.

^{page 335 note 3} Matt. xxvi, 43.

^{page 335 note 4} Matt. xxvi, 42.

^{page 335 note 5} Matt. xxvi, 40. Cf. Marc. xiv, 37.

^{page 335 note 6} Matt. xxvi, 46. Cf. Marc. xiv, 42.

^{page 336 note 1} I have suggested above that the formation of the Quem, quœritis Introit trope of Easter may have been influenced by this part of the passio. Cf. p. 315, note 1.

^{page 337 note 1} Joan. xviii, 3-8.

^{page 337 note 2} Meyer gives both the text of this play and facsimiles from the manuscript (Fragmenta Burana, pp. 123-124, and Plates 5-7). Concerning this play see Meyer, pp. 64 ff., 122-123; Chambers, Vol. ii, pp. 40, 75.

^{page 337 note 3} Meyer, Fragmenta Burana, p. 123.

^{page 338 note 1} Matt. xxvi, 17-25.

^{page 338 note 2} Matt. xxvi, 14-15.

^{page 338 note 3} Matt. xxvi, 26-28.

^{page 339 note 1} Matt. xxvi, 46.

^{page 339 note 2} Matt. xxvi, 49-50.

^{page 339 note 3} Abundant evidence of the fact that the earlier passion-plays derive not only their groundwork but also much of their dialogue directly from the passio may be adduced from a comparison of the passio with the relevant parts of the passion-plays found in the following places:

1. (1)

   (1) Latin,—Bullettino dell' Istituto Storico Italiano, No. 8, Roma, 1889, pp. 162-165.

2. (2)

   (2) German,—Froning, pp. 340-373, 567-857; Mone, Schauspiele des Mittelalters, Vol. i, pp. 72-128, Vol. ii, pp. 183-350.

3. (3)

   (3) French,—A. Jubinal, Mystères inédits du Quizième Siècle, Vol. ii, Paris, 1837, pp. 139-311.

4. (4)

   (4) Italian,—A. D'Ancona, Sacre Rappresentazioni, Vol. i, Firenze, 1872, pp. 303-327; F. Torraca, Il Teatro Italiano dei Secoli xiii, xiv e xv, Firenze, 1885, pp. 47-64.

5. (5)

   (5) English,—The Chester Plays, edited by T. Wright, London, 1843, Vol. ii, pp. 18-70; The Towneley Plays, edited by England and Pollard, London, 1897, pp. 204-292; York Plays, edited by L. T. Smith, Oxford, 1885. pp. 219-371; Ludus Coventriae, edited by J. O. Halliwell, London, 1841, pp. 259-337.

I am, of course, far from being the first to point out the presence of passio formulæ in the passion-play. I introduce this point here because I think it has been neglected, and because it follows logically upon my discussion of the ceremonial of the passio.

^{page 340 note 1} See Chambers. Vol. ii, p. 39; B. Venzmer, Die Chöre im geistlichen Drama des deutschen Mittelalters, Ludwigslust, 1897, p. 14; Mone, Schauspiele des Mittelalters, Vol. i, p. 61; E. Wilken, Geschichte der geistlichen Spiele in Deutschland, Göttingen. 1872, p. 93.

^{page 340 note 2} Matt., xxvii, 57-60.

^{page 340 note 3} Joan., xix. 38-42.

^{page 341 note 1} For sources of information concerning the sepulchrum see Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvi, Part ii (1909), pp. 895-896.

^{page 341 note 2} Texts of the Depositio Crucis can be found in Milchsack, Die lateinischen Osterfeiern, Wolfenbüttel, 1880, pp. 122, 127, 134; Publications of the Modern Language Association of America, Vol. xxiv (1909), pp. 319-320; Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvi, Part ii (1909), pp. 902, 906-907, 911, 914, 916-917, 926; Chambers, Vol. ii, p. 312.

^{page 341 note 3} The ms. is described by L. Delisle (Inventaire des Manuscrits latins conservés à la Bibliothèque Nationale sous les numéros 8823-18613. Paris, 1863-1871, p. 35) as “Rituel de l'abb. de S. Adelph. xii s.” The ms. contains a Visitatio Sepulchri (fol. 60r-60v, printed in the Appendix below), but no Elevatio Crucis.

^{page 341 note 4} Paris, Bibl. Nat., ms. lat. 9486. fol. 41r-42v.

^{page 341 note 5} Communio of the Missa Praesanctificatorum of Good Friday.

^{page 342 note 1} The ms. seems to have Vespera.

^{page 342 note 2} Munich. Staatsbibliothek. Cod. lat. 5349. 15th century breviary from Chiemsee. In addition to the Depositio (fol. 195r-195v), the manuscript contains also an Elevatio Crucis (fol. 197v-198r; printed in the Appendix below), and a Visitatio Sepulchri (fol. 199r-199v, printed by Lange, pp. 102-103).

^{page 343 note 1} Munich. Staatsbibliothek, Cod. lat. 5349, saec. xv, fol. 195r-195v.

^{page 343 note 2} Communio of the Missa Praesanetificatorum of Good Friday.

^{page 344 note 1} ms. Rawlinson Liturgical d. iv, saec. xiv, a Processionale from the Church of St. John the Evangelist. Dublin. The Depositio (fol. 68v-70r), Elevationes (fol. 85v-86v, 127v-130r), and Visitatio (fol. 130r-132r) from this ms. have been published together by the present writer in Transactions of the Wisconsin Academy of Sciences. Arts. and Letters, Vol. xvi, Part ii (1909), pp. 915–924.

^{page 344 note 2} Bodleian ms. Rawlinson Liturgical d. iv., fol. 68v-70r.

^{page 344 note 3} Vespers of Good Friday.

^{page 345 note 1} The rubric, Sabbato in Vigilia Pasce, follows immediately.

^{page 345 note 2} Actually in the custody of the Bodleian Library (in 1908).

^{page 345 note 3} W. H. Frere, Bibliotheca Musico-Liturgica, Vol. i, p. 149. The Deposilio (p. 108) and the combined Elevatio and Visitatio (pp. 118-127) from this ms. have been published together by the present writer in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvi, Part ii (1909), pp. 926-934.

^{page 346 note 1} Oxford, University College, ms. 169, p. 108.

^{page 346 note 2} Preceded immediately by the Adoratio Crucis.

^{page 347 note 1} Unfortunately we cannot tell how many persons are implied in the word sacerdotes. If there were only two priests, impersonation would appear almost certain.

^{page 347 note 2} Text in Froning, pp. 340-373. Concerning this document see Froning, pp. 325-339; Creizenach, Vol. i, pp. 219-220.

^{page 347 note 3} For the full text see Depositio No. (1) above,—Responsorium: Ecce quomodo moritur iustus, et nemo percipit corde, et uiri iusti tolluntur, et nemo considerat; a facie iniquitatis oblatus est iustus, et erit in pace memoria eius. Versus: In pace factus est locus eius, et in Sion habitacio eius. Et erit.

Responsorium: Sepulto domino signatum est monumentum, uoluentes lapidem ad hostium monumenti, ponentes milites qui custodirent eum. Versus: Ne forte ueniant discipuli eius et furentur eum, et dicant plebi, surrexit a mortuis. Ponentes.

^{page 348 note 1} Text in Froning, pp. 567-857. Concerning this play see Froning, pp. 547-561; Creizenach, Vol. i, pp. 221-222.

^{page 348 note 2} Froning, p. 811.

^{page 349 note 1} For the expansions in brackets the present writer is responsible.

^{page 349 note 2} See also Mone, Schauspiele des Mittelalters, Vol. i, p. 123; Vol. ii, pp. 141, 149, 332; A. Pichler, Ueber das Drama des Mittelalters in Tirol, Innsbruck, 1850, p. 138; Du Méril, p. 303. The absence of Depositio formulæ from the early Latin passion-plays (Froning, pp. 284-299; Meyer, Fragmenta Burana, pp. 123-124; Bullettino dell' Istituto Storico Italiano, 1889, pp. 162-165) is remarkable.

One may well inquire whether the pertinent responsoria (Ecce quomodo …, Sepulto domino …, and the like) may not have reached the passion-plays directly from the Liber Responsalis (cf. Liber Responsalis Sancti Gregorii Magni, Migne, Pat. lat., lxxviii, 768-769) rather than through the mediation of the Depositio. In reply it may be observed that in the Liber Responsalis the responsoria are in no way associated with Joseph of Arimathea and Nicodemus, whereas in the Depositio and in the passion-plays this association is explicit,—an association that seems to establish the direct relation of Depositio to passion-play.

^{page 351 note 1} Paris, Bibliothèque Nationale, ms. lat. 9486, saec. xii, fol. 60r-60v.

^{page 351 note 2} Followed immediately by the rubric, In Die Sanato ad Aspersionem Aque. …

^{page 351 note 3} Munich, Staatsbibliothek, Cod. lat. 5349, saec. xv, fol. 197v-198r. With this text may be compared a similar text from Cod. lat. 5546 of the same library, published in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvi, Part ii (1909), pp. 907-909.