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The Origin of the Easter Play
Published online by Cambridge University Press: 02 December 2020
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1 For his assertion that the Christmas play is older than the Easter play Professor Wilhelm Meyer (Fragmenta Burana, Berlin, 1901, pp. 37, 38, 173) offers no evidence. The dramatic Easter trope Quem quœritis in sepulchro is found in manuscripts of the tenth century (St. Gall MS. 484 and Paris, Bibl. Nat., ms. latin 1240; see texts below), and a true Easter play,—that is, a presentation of the story by means of action and impersonation,—is extant in a document composed, probably, in the period 965-975, and preserved in a manuscript of the period 1020-30 (see Chambers, The Mediœval Stage, Vol. ii, pp. 306-307, concerning the Regularis Concordia of St. Ethelwold). The dramatic Christmas trope Quem quœritis in prœsepe is not extant in texts earlier than the eleventh century (see Young, in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvii, pp. 300-311), and the earliest true plays of the Christmas season are found in manuscripts of the eleventh century (see Young, in Modern Language Notes, Vol. xxvii, pp. 68-70).
2 Although this is the simplest, and, indeed, the oldest form of the trope, the manuscripts that preserve it are not quite so old as the manuscript (Paris, Bibl. Nat., ms. latin 1240) that preserves a de rived form. These considerations are discussed below, pp. 12-13.
3 The word Item indicates the fact that this trope is one of a series of tropes for the Introit of the Mass of Easter.
4 St. Gall, Stiftsbibliothek, ms. 484, Troparium Sangallense sæc. x, p. lll. The last word Resurrexi is the first word of the Easter Introit. It is followed immediately by the rubric Aliter, indicating the beginning of a fresh trope. The rime, and the arrangement of the lines of the trope as here printed, should mislead no one into thinking that this piece is other than prose. See C. Blume, Repertorium Repertorii (Hymnologische Beiträge, Vol. ii), Leipzig, 1901,
5 The manner in which this Introit was rendered will be discussed below. See p. 16.
6 The best analysis of this double development is that presented by Chambers, The Mediœval Stage, Vol. ii, pp. 9-36.
7 See C. Lange, Die lateinischen Osterfeiern, Munich, 1887.
8 Such texts have been published by N. C. Brooks, in Zeitschrift für deutsches Altertum, Vol. l (1908), pp. 297-312; Journal of English and Germanic Philology, Vol. viii (1909), pp. 464-488; id., Vol. x (1911), pp. 191-196; by S. Windakiewicza, in the bulletin of the Krakauer Akademie, Vol. xxxiii (1902); id., Vol. xxxiv. (1903), pp. 339-356; by H. Pfeiffer, in Jahrbuch des Stiftes Klosterneuburg, Vol. i (1908), pp. 3-56; by P. Stotzner, Osterfeiern, Programm No. 594, Zwickau, 1901; and by the present writer in Publications of the Modern Language Association of America, Vol. xxiv (1909), pp. 297-329; id., Vol. xxv (1910), p. 351; Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvi (1909), pp. 899-944; Modern Philology, Vol. vi (1908), pp. 221-222.
9 Texts are given chiefly by the following: (1) L. Gautier (Le Monde, Paris, August 17, 1872, p. 2; Les Tropes, Paris, 1886, pp. 216, 217, 220); (2) G. Milchsack (Die lateinischen Osterfeiern, Wolfenbuettel, 1880, pp. 38-39); (3) C. Lange (op. cit., pp. 22-23); (4) W. H. Frere (The Winchester Troper, London, 1894, p. 176 The text printed on p. 17 I do not regard as a trope of the Introit. The inadequacy of Frere's method of editing,—particularly apparent in the present connection,—is exposed without reserve by Blume in Analecta Hymnica, Vol. xlvii, pp. 31-36); (5) Clemens Blume (Analecta Hymnica, Vol. xlix, pp. 9-10). Although certain of these scholars possess an extensive and masterly knowledge of tropes in general, all five writers combined have printed scarcely more than a half dozen texts of Quem quœritis in sepulchro that are both correct and intelligible. Lange, writing without an acquaintance with Gautier's epoch-making investigations, seems to have been unaware of a difference between the Troparium and the Graduale or the Liber Responsalis. None of these writers distinguishes clearly between the use of Quem quœritis as a trope of the Introit and as a dramatic intrusion at the end of Matins. Upon the basis of the few texts provided by these investigators, however, Chambers (op. cit., Vol. ii, pp. 9 ff.) makes this distinction with admirable lucidity.
10 My possession of most of the new texts offered in this study was made possible by the generosity of Reverend H. M. Bannister, of Rome, and Le Révérend Père Dom G. M. Beyssac, O. S. B., of Quarr Abbey. I cannot adequately thank these teachers of mine for constant gifts of materials and for untiring instruction. I should, however, absolve them from all responsibility for my particular treatment of the materials in the present study.
11 St. Gall, Stiftsbibliothek, ms. 381, Troparium Sangallense sæc. xi, pp. 246-247. The last word Resurrexi is followed immediately by the rubric Aliter.
12 See the texts from the following manuscripts, printed below: Zürich, ms. Rheinau 97; Verona ms. 107; Paris, Bibl. Nat., ms. latin 779; ibid., ms. latin 118; Ivrea ms. 60; Monza ms. C. 13/76; Monte Cassino ms. 127; Benevento mss. 27 and 28; Oxford, ms. Douce 222; Piacenza ms. 65.
13 As to the manner in which such a trope was sung we derive a certain amount of information from MS. latin 9498 (Paris, Bibl. Nat.), one of twenty volumes of liturgical documents compiled by J. de Voisin in the seventeenth century. On page 17 of ms. 9498, in describing a thirteenth-century Ordinarium from the Abbey of St. Denis, de Voisin quotes the following concerning the singing of the trope that follows upon the procession (Vidi aquam) after Terce:
Post processionem ascendant infra sancta sanctorum quidam benecantantes, alii in dextro latere et alii in sinistro absistentes, tropas bene et honorifice conjubilantes scilicet: Quern quæritis, et sibi inuicem respondentes. Et cum intonuerint: Quia surrexit, dicens Patri, statim archicantor et duo socii ejus assistentes in choro incipiant Officium.
14 On the relation of Quern quœritis to the Vulgate see H. Anz, Die lateinischen Magierspiele, Leipzig, 1905, p. 38; Gautier, Les Tropes, p. 219, note 5; Milchsack, pp. 10, 27, 30-31, 116; A. Schönbach, in Zeitschrift für deutsches Altertum, Vol. xxxii (1888), p. 85; Chambers, Vol. ii, pp. 9, 28.
15 See Gaston Paris, in Journal des Savants, 1892, p. 684.
16 These liturgical pieces are conveniently found in Migne, Patrologia Latina, Vol. lxxviii, col. 769-774. Here may be quoted also the Offertorium of the Mass for Easter Monday: Angelus Domini descendit de cœlo, et dixit mulieribus: Quem quœritis surrexit, sicut dixit, alleluia. (Migne, Pat. Lat. lxxviii, 678.)
17 As to the singing of antiphons and responsories see P. Wagner, Origine et Développement du Chant Liturgique, Tournai, 1904, pp. 135-163.
18 John xviii, 1—xix, 42.
19 John xviii, 4-5. The names of the speakers, in brackets, are given merely for the sake of intelligibility. They should not be mistaken as meaning that in the singing of the Passion each of the three utterances was assigned to a separate singer. Until the fifteenth century, the Passion was sung throughout by one Deacon. Concerning the singing of the liturgical Passiones see an article by the present writer, in Publications of the Modern Language Association, Vol. xxv (1910), pp. 311-333,—especially p. 315.
20 John xviii, 7.
21 This fact is recognized, upon the basis of one consideration or another, by Milchsack (op. cit., pp. 31-32), Gaston Paris (Journal des Savants, 1892, p. 684), and W. Meyer (op. cit., p. 34). Lange (op. cit., pp. 19, 168) seems to assume that the trope Quern quœritis was a fundamental part of the liturgy, and that we should no more seek a definite author for such a piece than for the traditional antiphons and responsories. Lange's error results from his lack of information concerning tropes as such,—information quite inaccessible, indeed, before the publication of Gautier's monograph, mentioned above. The tropes were never officially recognized as part of the liturgy, and the troparium was never an official service-book. The troparia were always relatively few in number, and they merely preserved the numerous musico-literary embellishments with which ambitious, but misguided, religious communities corrupted the liturgy of Rome.
22 As to the date see the facts advanced by Reverend H. M. Bannister in Journal of Theological Studies, Vol. ii (1901), pp. 420 ff., and in Analecta Hymnica, Vol. xlvii, pp. 22-23.
23 See Bannister, Journal of Theological Studies, ii, 420 ff.
24 This reasoning seems to accord with the general view expressed by Blume in Analecta Hymnica, Vol. xlix, p. 10.
25 See Gautier, pp. 35-36, et passim.
26 See Gautier, p. 34.
27 For an account of the trope Hodie cantandus est, with texts, see an article by the present writer in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvii (1912), pp. 362-368.
28 From St. Gall mss. 484 and 381. See pp. 2 and 5.
29 Vercelli, Bibl. Capit., ms. 146, Graduale-Troparium Vercellense sæc. xi, fol. 109r. The text printed above is immediately preceded, in the manuscript, by a prose for the Purification, and is immediately followed by the words Ecce Pater cunctis, which begin a fresh trope of the Introit.
30 That this variation is not merely scribal seems likely from the evidence of three manuscripts: Vercelli 146, Vercelli 162, and, as printed below, Vercelli 161.
31 ms. prediscerat.
32 ms. susrexit.
33 Vercelli, Bibl. Capit., ms. 161, Graduale-Troparium sœc. xii, fol. 121r. The text printed above is immediately followed, in the manuscript, by the words Ecce Pater cunctis, indicating a new trope of the Introit.
34 Zürich, Kantonsbibliothek, ms. Rhenoviense 97, Troparium Sangallense (?) sæc. xi in., pp. 16-17. The last word Resurrexi indicates the repetition of the antiphon of the Introit. This text has been previously published by Professor N. C. Brooks, in The Journal of English and Germanic Philology, Vol. x, pp. 191-192. My text, which differs from that of Professor Brooks only in trifling details, is printed from a copy generously made for me by Herr J. Werner, Librarian of the Kantonsbibliothek, Zürich.
35 Concerning the use of Quem quœritis as a processional see below, pp. 49 ff.
36 The various practices connected with the singing of the Introit are explained by P. W>agner, Origine et Développement du Chant Liturgique, Tournai, 1904, pp. 68-78.
37 Vich (Spain), Bibl. Capit., ms. 111, Troparium Vicense sæc. xixii, fol. 2r. The trope does not extend within the Introit.
38 Gautier, p. 226.
39 That the introductory formula Hora est was used elsewhere than in connection with Quem quœritis in sepulchro is shown by the following trope of the Introit of Pentecost, from Bibl. Nat., ms. latin 903, Graduale-Troparium Sancti Aredii sæe. xii, fol. 155r:
In die sancto Pentecosten.
Hora est, psallite; iubet Domnus canere; eya dicite.
Psallite, fratres mi omnes, una uoce dicentes:
Hodie descendit Spiritus Sanctus uelut ignis super apostolos, et eorum pectoribus inuisibiliter penetrauit; docuit eos omnis Unguis loqui in eius honore dulce; carmina omnes decantae; dicite:
Spiritus Domini.
40 Rome, Biblioteca Vittorio Emanuele, ms. 1343 (Sessor. 62), Troparium Nonantulense sœc. xi in., fol. 28v.
41 ms. sem.
42 ms. spallite.
43 Verona, Bibl. Capit., ms. 107, Troparium Mantuanum sæc. xi, fol. 11r. The last word Resurrexi is followed immediately, in the manuscript, by the rubric Item alia, indicating the beginning of a fresh trope.
44 ms. crcifixum.
45 Modena, Bibl. Capit., ms. O. i. 7., Troparium Ravennatense sæc. xi-xii, fol. 102r-102v. The last word Resurrexi (ms. Resurrexit) is followed immediately by the rubric Aliter.
46 ms. sicut.
47 Paris, Bibl. Nat., ms. lat. 9508, Miscellanea liturgica sœc. xvii, fol. 179r (“Ex Missali Corbeiensi ms. num. 622 sseculi xi”). There is no internal troping of the Introit.
48 Paris, Bibl. de l'Arsenal, ms. 1169, Troparium Aeduense anni 996-1024, fol. 18v-19r. The last word Resurrexi indicates the repetition of the Introit. Resurrexi is followed immediately by the rubric Alia.
49 Paris, Bibl. Nat., ms. latin 1240, Troparium Martialense 
. x (anni 933-936), fol. 30v. The text above is immediately followed by the rubric Item introducing another trope. Inexact or mutilated texts of the trope printed above are given by E. DuMéril (Origines Latines du Théâtre Moderne, Paris, 1897, p. 97, note 1), Milchsack (pp. 38-39), Lange (pp. 22-23), and W. H. Frere (The Winchester Troper, London, 1894, p. 176). In my reading of the manuscript I am forced to dissent, also, from the critical notes provided by Blume in Analecta Hytnnica, Vol. xlix, pp. 9-10.
50 Sea pp. 12-13.
51 ms. Resurrexit.
52 Followed immediately in the manuscript by the rubric Aliter, indicating the beginning of a new trope.
53 Apt, Archives of the Basilica of St. Anne, ms. 4, Troparium sœc. x, fol. 33v-34r.
54 Paris, Bibl. Nat., ms. lat. 1119, Troparium S. Augustini Lemovicensis sæc. xi, fol. 21v-21r. In connection with this text should be listed the similar, but incomplete, texts in Paris, Bibl. Nat., ms. lat. 909, Troparium Martialense ssec. xi, fol. 21v-22r, and Ibid., Nouv. Acq. latin 1871, Troparium Moissiacense sæc. xi, fol, 13v.
55 Chambers, Vol. ii, p. 10.
56 Gautier, p. 220.
57 ms. crucifisum.
58 Paris, Bibl. Nat., ms. lat. 887, Troparium S. Martini (?) Lemovicehsis sœc. xi, fol. 19r. The last word Resurrexi is followed immediately by the rubric Tropi, introducing the following series of tropes of the Easter Introit: (1) Psallite regi magno … (2) Factus homo tua iussa pater … (3) Ecce pater cunctis ut iusserat … (4) Aurea lux remeat Ihesus … (5) Iam tua iussa pater … . For the texts see Analecta Hymnica Medii Aevi, Vol. xlix, Leipzig, 1906, pp. 54-55. Any one of these five tropes may have been used as an internal trope of the Introit Resurrexi, in continuation of the introductory trope Quem queritis in sepulchro.
59 In speaking of the rubric Respondent as “la plus ancienne didascalie ou indication de mise en scène” Gautier (Le Monde, Aug. 17, 1872, p. 2) is scarcely scientific.
60 ms. ihc.
61 Paris, Bibliothèque Nationale, ms. latin 1118, Troparium S. Martialis Lemovicensis sæc. x (988-996), fol. 40v. The last word Resurrexi (ms. Resurrexit) is followed immediately by the rubric Item alius.
62 Paris, Bibl. Nat., ms. lat. 779, Graduate Arelatense sæc. xiii, fol. 36r-36v. The last word et is followed immediately by the rubric Alios.
63 Ms. Xiste.
64 Vercelli, Bibl. Capit., ms. 56, Missale plenum Vercellense (?) ssec. xi-xii, fol. 87v. The trope does not extend within the Introit.
65 MS. circumdare.
66 Ivrea, Bibl. Capit., ms. 60, Troparium Eporediense sæc. xi in. (1001-1011), fol. 69v. The text above is immediately followed by the complete Introit of Easter, and further tropes.
67 See below, pp. 42-49.
68 ms. resurrexi.
69 Monza, Bibl. Capit., ms. C. 13/76, Graduale-Troparium Modœtinum sœe. xi, fol. 98v-99r. The last word Resurrexi indicates a repetition of the antiphon of the Introit. In the manuscript this word is followed immediately by a trope of the Kyrie. A text similar to that above is to be found in Monza, Bibl. Capit. ms. 77, Graduale-Troparium Modœtinum sæc. xii, fol. 81r.
70 ms. Resurrexit.
71 ms. Resurrexit.
72 ms. tue.
73 ms. Resurrexit.
74 Rome, Vatican, ms. lat. 4770, Missale plenum Benedictinum S. Petri in Aprutio sæe. x-xi, fol .117r. Part of the text printed above is given by A. Ebner, Quellen und Forschungen zur Geschichte und Kunstgeschichte des Missale Romanum im Mittelalter: Iter Italicum, Freiburg, 1896, p. 219, Note 1. The last word of the text as given above is followed, in the manuscript, by a trope of the Kyrie.
75 ms. scm.
76 Turin, Royal Library, ms. G. v. 20, Graduale-Troparium Bobiense sæc. xi, fol. 97r. The trope does not extend within the Introit.
77 Rome, Biblioteea Angelica, ms. 123 (olim B. iii. 18), Troparium Bononiense (?) sæc. xi, fol. 214r-214v. The letters euouae at the end of the text are the vowels of the final words of the Gloria Patri, —seculorum, amen,—sung at the end of the Introit. This vowel aeries is often written in this way merely as a support for the musical notes forming the cadence of the Gloria Patri.
78 Vich, Museum, ms. 31, Troparium Ripollense sæc. xii-xiii, fol. 48v. The trope is not continued within the Introit.
79 Paris, Bibl. Nat., MS. latin 1139, Troparium Martialense sæc. xii, fol. 53r. The text above is followed immediately in the manuscript by the rubric Sponsus and the famous play of that name. For a list of previous texts of the version of Quem quœritis in this manuscript see Lange, p. 4. Lange's own text of the trope (p. 22) is regret ably incomplete.
80 A Poitiers version, of uncertain date, somewhat similar to the version before us is used not as a trope of the Introit, but as a Visitatio Sepulchri at the end of Matins (see Chambers, Vol. ii, p. 29, note). Gautier (p. 221, note 3) seems to suggest that the words Eamus videre sepulchrum of the text printed above indicate the presence of the actual sepulchrum of the Visitatio Sepulchri.
81 Monte Cassino, ms. 127, Missale Monasticum sæc. xi, fol. 105v. In connection with this text one should observe the following from Monte Cassino ms. 199, as calendared in Bibliotheca Casinensis, Vol. iv, p. 124:
Dum canitur Tertia, aspergantur Fratres in choro aqua sancta, quae pridie benedicta est, etc. Antiph. ad Processionem peculiares. Qua finita vadat unus Sacerdos ante altare alba veste indutus, et versus ad chorum dicat alta voce: Quem quaeritis, et duo alii clerici stantes in medio chori respondeant: Jesum Nazarenum. Et Sacerdos: Non est hie. Illi vero conversi ad chorum dicant: Alleluia, resurrexit. Post haec très alii cantent tropos, et agatur Missa ordine suo. Cf. Chambers, Vol. ii, p. 12, note 1.
82 Benevento, Bibl. Capit., ms. 27, Troparium Beneventanum sæce. xii, fol. 47v-48r. In the manuscript the full text of the Introit follows.
83 ms. exultant.
84 Benevento, Bibl. Capit., ms. 28, Troparium Beneventanum sæc. xii, fol. 28r. In the manuscript follows a series of internal tropes of the Introit. I print the text above, and the variants, in order to show the variety of rubrics.
85 Oxford, Bodleian, ms. Douce 222, Troparium Novaliciense sœc. xi, fol. 18r-19r. This text has been previously published by N. C. Brooks, in The Journal of English and Germanic Philology, Vol. viii, pp. 463-464, and by the present writer, in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvii, Part i, p. 309.
86 ms. scm.
87-87 Written twice in the manuscript.
88 Piacenza, Bibl. Capit., ms. 65, Graduale-Troparium Placentinum sæc. xi-xii, fol. 235v-236r. Somewhat similar rubrics occur in a text to be found in Pistoia, Bibl. Capit., MS. 70, Troparium Pistoriense sæc. xi-xii, fol. 32r. Here may be placed a text from Monte Cassino recorded, from an unidentified manuscript, by E. Martene (De Antiquis Ecclesiœ Ritibus, Lyons, 1788, Vol. iv, p. 147):
Processione finita, vadat Sacerdos post altare, et versus ad chorum dicat alta voce, Quern quœritis? et duo alii Clerici stantes in medio chori respondeant: Jesum Nazarenum; et Sacerdos: Non est hic. Illi vero conversi ad chorum dicant: Alleluja. Post hæc alii quatuor cantent tropos, et agatur Missa ordine suo. Cf. Lange, No. 23, p. 23; Chambers, Vol. ii, p. 12, note 1.
89 C. Rohault de Fleury, La Messe : Études archéologiques sur ses monuments, Vol. i, Paris, 1883, pp. 103, 237; Parenty, Recherches sur la Forme des Autels in Congrès Scientifique de France, Session xx, 1853, Vol. ii, pp. 201-202.
90 Y. Hirn, The Sacred Shrine, London, 1912, pp. 14-18.
91 Rohault de Fleury, Vol. i, pp. 103-109, 237; Parenty, p. 202.
92 Hirn, p. 23.
93 J. Mallet, Cours élémentaire d'Archéologie religieuse, Vol. ii, Paris, 1900, pp. 13-14; J. Corblet, Essai historique et liturgique sur les Ciboires et la réserve de l'Eucharistie, Paris, 1858, pp. 77-78; Parenty, p. 202; Hirn, p. 26.
94 De Caumont, Cours d'Antiquités Monumentales, Part vi, Paris, 1841, pp. 112-118; Congrès Scientifique de France, Session xxii (Puy), 1855, Vol. ii, p. 523; X. Barbier de Montault, Le Martyrium de Poitiers, Poitiers, 1885, passim; Parenty, p. 202.
95 Parenty, p. 207.
96 H. A. Daniel, Codex Liturgicus, Vol. i, Leipzig, 1847, p. 375; Parenty, p. 203; Mallet, Vol. ii, pp. 13-14; Corblet, p. 77; Barbier de Montault, pp. 45, 53.
97 H. Otte, Handbuch der kirchlichen Kunst-Archäologie des deutschen Mittelalters, Vol. i, Leipzig, 1883, pp. 131, 134.
98 See Hirn, p. 68.
99 See Rohault de Fleury, Vol. i, pp. 107-109, 239: Annales Archéologiques, Vol. iv, pp. 238, 241-242, 246-248; F. X. Kraus, Real-Encyclopädie der christlichen Alterthümer, Vol. I, Freiburg, 1882, pp. 39, 89-90; J. B. E. Pascal, Origines et Raison de la Liturgie Catholique, Paris, 1863, col. 96-97; De Processionibus Liber, Paris, 1641, pp. 181-191.
100 Bibliothecae Patrum et Veterum Auctorum Ecclesiasticorum, Vol. vi, Paris, 1610, col. 116.
101 Migne, Patrologia Latina, Vol. cv, col. 1154-1155.
102 Migne, Pat. Lat., Vol. cv, col. 1326.
103 Migne, Patrologia Grœca, Vol. clv, col. 703.
104 Id., Vol. clv, col. 706.
105 Gulielmus Durandus, Rationale Divinorum Officiorum, Lugduni, 1559, fol. 378r.
106 ms. 
.
107 ms. offitiū.
108 ms. tua.
109 ms. offitiū.
110 ms. Resurexit.
111-111 ms. Et hoc dicto ueniant tantum hoc dicto tres.
112 ms. offitiū.
113 ms. Resurrexit.
114 Brescia, Biblioteoa Civica Quiriniana, ms. H. vi. ll., Ordinarium Ecclesiae Sanctae Juliae anni 1438, fol. 30r.
115 I have tampered as little as possible with the hideous Latinity of this text, and have, in every ease, indicated my alteration.
116 Examples may be seen above from the following manuscripts : Zürich, Rheinau ms. 97 (see p. 15), Turin ms. G. v. 20 (see p. 31) Turin ms. F. iv. 18 (see p. 32), and Rome, Angelica ms. 123 (see pp. 32-33).
117 See above, pp. 35-36. See also the text from Benevento MS. 27, above, pp. 37-38.
118 Oxford, Bodleian Library, ms. Seiden supra 27, Troparium Hei-denhemense sæc. xi, fol. 69v-70r. The text above is followed immediately, in the manuscript, by the rubric In Die Sancto Pasche, introducing a series of tropes of the Introit Resurrexi.
119 See above, p. 17.
120 St. Gall, Stiftsbibliothek, ms. 339, Graduale-Sacramentarium Sangallense sæc. x, pp. 106-107. Reproduced in photographie facsimile in Paléographie Musicale, Vol. i, Solesmes, 1888-90, pp. 75-76. The text as printed above is followed immediately by the rubric: In Die ad Missam, introducing the Introit: Resurrexi. With the text from ms. 339 may be listed the similar text, in St. Gall ms. 387, Breviarium Sangallense sœc. xi, pp. 57-58. Lange (no. 4, p. 22) exhibits the Quern quœritis dialogue from ms. 387; but since his text is isolated from the surrounding processional antiphons, it is quite misleading and useless.
121 St. Gall, Stiftsbibliothek, ms. 391, Liber Responsalis Hartkeri sæc. x, pp. 37-38. This text is shown in photographic facsimile in Paléographie Musicale, Deuxième Série, Vol. i, Solesmes, 1900, pp. 231-232. A mutilated version of the passage given above is printed by J. M. Thomasius, Opera Omnia (ed. Vezzosi), Vol. iv, Rome, 1749, p. 238. The text printed above is immediately preceded by the last antiphon of Lauds, and is immediately followed by the rubric: Ad Vesperas. Lange (No. 3, p. 22), extracts the Quem quœritis dialogue from this text, printing it in useless isolation from its context. The same may be said of Lange's treatment of Quem quœritis from St. Gall mss. 374 and 378 (Lange Nos. 2 and 5, p. 22), each of which contains a processional essentially similar to that printed above.
122 St. Gall, Stiftsbibliothek, ms. 376, Troparium Sangallense sæc. xi, pp. 196-197. This text is followed immediately by the Introit: Resurrexi.
123 See an article by the present writer entitled The Harrowing of Hell in Liturgical Drama, in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, Vol. xvi, Part ii, pp. 897-898.
124 Monza, Bibl. Capit., ms. K. 11., Graduale-Troparium sæc. xii ex., 60r-60v. The text given above is followed immediately, in the manuscript, by the rubric: Trophi ad Introitum Misse.
125 The Sequence for Easter Monday (Feria iiapost Pascha).
126 ms. dicit.
127 ms. stridor.
128 Ivrea, Bibl. Capit., ms. 60, Troparium Eporediense sæc. xi in. (1001-1011), fol. 74r-74v. The text above, with variants from the text of D. Georgius (De Liturgia Romani Pontificis, Vol. iii, Rome, 1744, pp. 492-493), is printed in Analecta Hymniea, Vol. xl, Leipzig, 1902, p. 15. Variant texts, are to be found also in Benevento, Bibl. Capit., ms. 27, Troparium Beneventanum sæc. xii, fol. 58r-58v (Feria vapost Pascha); Ibid., ms. 28, Troparium Beneventanum sœc. xii, fol. 41v(Feria Vapost Pascha); Ibid., ms. 29, Troparium Beneventanum sæc. xii, fol. 37v-38r (Sabbato post Pascha); and Paris, Bibl. Nat., ms. Nouv. Acq. 1669, Graduale Eugubinense sæc. xii ex., fol. 96r-96v (Sabbato post Pascha).
129 Benevento, Chapter Library, ms. 25, Troparium Beneventanum sæc. xii, fol. 137v-138r. This text constitutes the sequence for the Mass of Thursday in Easter Week (Feria vapost Pascha).
130 The sentence Pascha nostrum Xpystus est, immolatus agnus est, etenim Pascha nostrum immolatus est Xpystus, which is found in the Turin manuscripts G. v. 20 and F. iv. 18 (see above, p. 31), and which may or may not be considered part of the trope proper, rests, in part, upon the Alleluia-verse of Easter Day, Pascha nostrum immolatus est Christus (see Migne, Pat. hat., lxxvii, 678), or upon the Vulgate Etenim Pascha nostrum immolatus est Christus (1 Cor., v, 7). The sentence Surrexit Dominus, surrexit Cristus; iam non moritur; mors ili ultra non dominabitur, alleluia, seen in ms. 123 of the Angelica Library in Rome (see above, p. 32), is based, in part, upon the Communio of the Mass for Wednesday in Easter week, Christus resurgens ex mortuis jam non moritur, alleluia; mors illi ultra non dominabitur, alleluia, alleluia (see Pat. Lat., lxxviii, 679), or upon the Vulgate Scientes quod Christus resurgens ex mortuis jam non moritur; mors illi ultra non Dominabitur (Rom. vi, 9). For the added sentences as a whole, however, no such sources can be pointed out.
131 Brescia ms. H. vi. ll., of the fifteenth century. See above, pp. 47-48.