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avoided telling him the Christ child's location. After he regains his composure, he orders the massacre. The lamb is then led off stage and the massacre begins, despite the pleas of the mothers and the children to the angels above. After the Rachel scenes, an angel conducts the children to the choir
218:
at Laon, representing a French tradition. This tradition was merged with a German one that arose at
Freising at Fleury, though the ecclesiastical affairs that brought about this transmission (from Laon, Limoges, and Freising to Fleury) are unknown. Young differs from Anz in that the latter thought
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themes have been incorporated, and the Fleury play contains the only extant medieval dramatic representation of the return from Egypt. Chambers has gone so far as to suggest a coalescing of all the
Epiphany themes in the Fleury
223:, 1901). He hypothesised that a south German original, large and complex, disintegrated into a Freising play that was largely a whittled-down copy and three divergent French plays that were influenced by the French liturgy.
438:
72:: "A voice was heard in Ramah, lamentation, and bitter weeping; Rahel weeping for her children refused to be comforted for her children, because they were not" (31:15,
123:
plays of the ninth and tenth centuries into full dramatic treatments of their own in the eleventh and twelfth. The four extensive treatments which Young classified as
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fail to comfort her, but lead her away. In both versions they sing the final lines. In the Fleury version the drama began with a procession of young boys
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The Rachel of the play is symbolically every Hebrew mother who lost her child to the massacre. In the
Freising version, she opens the action by singing a
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the
Freising text also developed from the Limoges original. An older theory of origins was put forth by William Meyer (
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237:, written probably in the 860s, that the eleventh-century dramatists were responding with their Rachel sequences.
413:
61:
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372:, University of Wisconsin Studies in Language and Literature, IV. Madison: University of Wisconsin Press.
151:(thirteenth century). Only the last two can be regarded as "separate dramatic unit". In both of them the
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92:, and towards her lamentation over the death of her children, the Hebrew children, in the massacre.
255:(female comforter) arrives to soothe her spirit. In the Fleury version, she sings a series of four
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271:(down the aisle of the church's nave) and a lamb bearing a cross appears running "to and fro" (
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before the holy family returns from Egypt. The entire Fleury play ends with a singing of the
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344:. Cambridge Medieval Classics, I. Cambridge: Cambridge University Press.
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in 1919. Young believed the plays developed from dramatic kernels in the
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The first modern critical edition of the Rachel plays was made by
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As to the origins of the tradition Karl Young concluded, like
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76:). The prophecy, which Matthew believed to be fulfilled when
187:, which contains many liturgical pieces, including the play
139:(eleventh century), a lengthy part of an Epiphany play from
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Then the action shifts to Herod receiving his sceptre and
25:
Massacre of the
Innocents from the late 10th-century
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The late eleventh-century manuscript of the
Limoges
290:. Joseph and the holy family exit secretly while
193:. The Fleury version is preserved in the famous
80:ordered the slaughter of all boys under two in
208:, 1905), that it was initially an independent
147:(late eleventh century), and another one from
99:plays were probably performed as part of the
8:
357:Temple, W. M. (1959). "The weeping Rachel."
168:and of a merging of the Rachel and Herod (
263:come out to catch her as she faints. The
439:Cultural depictions of the Biblical Magi
303:shows Herod being succeeded as king by
282:at the manger receiving a message from
434:Cultural depictions of Herod the Great
68:, and on the prophecy recorded in the
229:believes it was to the dialogic poem
7:
251:over her children's bodies before a
212:at Limoges and then appended to the
323:Chambers, Edmund Kerchever (1903).
127:differ considerably. There are the
14:
424:Plays based on the New Testament
181:Bibliothèque nationale de France
399:Plays set in the 1st century BC
143:(twelfth century), a play from
444:Saint Joseph (husband of Mary)
1:
206:Die lateinischen Magierspiele
56:tradition consisting in four
52:(Play of the Innocents) is a
46:(Murder of the Children), or
294:as news is brought that the
64:, an event recorded in the
470:
172:) themes in the Freising.
419:Massacre of the Innocents
409:Medieval Latin literature
342:Nine Medieval Latin Plays
62:Massacre of the Innocents
394:11th-century manuscripts
179:is now lat. 1139 in the
88:, the matriarch of the
340:Dronke, Peter (1994).
292:Herod attempts suicide
31:
84:, looks backwards to
24:
368:Young, Karl (1919).
235:Notker the Stammerer
43:Interfectio Puerorum
325:The Mediaeval Stage
129:Lamentatio Rachelis
389:11th-century plays
327:, 2 vols. Oxford.
40:(Play of Rachel),
32:
454:Flight into Egypt
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111:Texts and origins
66:Gospel of Matthew
60:and based on the
54:medieval dramatic
49:Ludus Innocentium
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414:Catholic liturgy
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221:Fragmenta Burana
215:Officium stellae
125:ordines Rachelis
70:Book of Jeremiah
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429:Herod Archelaus
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269:per monasterium
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195:Fleury Playbook
154:fuga in Egyptum
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107:(28 December).
78:Herod the Great
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241:Plot and drama
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231:Quid tu, virgo
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365::81–86.
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288:flee to Egypt
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265:consolatrices
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261:consolatrices
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37:Ordo Rachelis
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28:Codex Egberti
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16:Medieval play
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359:Medium aevum
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341:
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280:Saint Joseph
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273:huc et illuc
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227:Peter Dronke
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204:before him (
202:Heinrich Anz
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259:before two
253:consolatrix
383:Categories
317:References
117:Karl Young
305:Archelaus
301:dumb show
82:Bethlehem
248:planctus
160:pastores
157:and the
145:Freising
121:Epiphany
449:Gabriel
310:Te Deum
284:Gabriel
257:plancti
190:Sponsus
170:Herodes
137:Limoges
101:liturgy
90:Hebrews
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332:
299:and a
149:Fleury
86:Rachel
210:trope
185:Paris
131:from
58:plays
347:ISBN
330:ISBN
296:Magi
275:).
177:ordo
166:ordo
141:Laon
103:for
95:The
34:The
286:to
233:by
135:at
74:KJV
385::
363:28
361:,
313:.
183:,
353:.
336:.
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