Power and Conflict in Medieval Ritual and Plays: The Re-Invention of Drama
Norma Kroll
Power and Conflict in Medieval Ritual Plays:The Re-Invention of Drama Norma Kroll Many fine twentieth-century studies the Latin liturgical drama have explored correspondences between plays Carolingian liturgy as well dramatized Ottonian Quem quaeritis tropes. Certainly, all three are hybrid works, consisting stylized enactments chanted texts.1 Since each involves some sort acting out, scholars generally infer that originating principle is impersonation. They also assume church grew out one or both earlier forms, even though they acknowledge somehow constitute a distinct category.2 Indeed, very different [End Page 452] principles govern actions kind work because imitation by actors itself does not account for origin structure general.3 As I argue, liturgy, tropes, differ radically embody divergent notions power powerlessness inherent only human beings but their relationships to God.4 Liturgists adapted St. Augustine's belief absolute divine potency its necessary corollary, angelic (or demonic) impotence: Eucharistic rite became real re-creation Christ's presence actions, mimetic representation. The verses, hundred years later, were mimetic, figurative Yet still supported liturgy's Augustinian featured clerics who impersonated highlighting unquestioning obedience God's will.5 In contrast, drama, which did appear until end eleventh century, adapts design earthly history accommodate ideas developed Peter Abelard (1079-1142).6 Most importantly, this radical change empowers 453] characters choose shape engagement various conflicts on earth.7 Four well-known, readily available eleventh-century plays-Hilarius's Raising Lazarus Fleury Easter Visit Sepulchre, Christmas Nativity, Slaughter Innocents-are typical dramatists' innovative representations nature experience. Hilarius studied under at school Paraclete, becoming wandering poet-scholar subsumed his master's into own creative approach drama.8 plays, an unknown author authors), among finest examples early drama.9 All four like generic counterparts, incorporate verses from scriptural texts fictive versions struggles against Christ, affect heavenly existence. with Te Deum alternative hymn, if be interpolated service. context, moral emotional oppositions adversaries-who relatively equal whom outcome equally vital-counterbalance Mass-ritual's promise God-given transcendent peace tropes' representation obedience. Thus, exploits comprising vividly attest impersonation conflicts, just characters, seminal distinguishing element genre. 454] I. Tradition Liturgy ninth-century Mass-liturgy provided anti-drama built philosophical theological omnipotence.10 J. A. Jungmann explains, key ceremony, rite, privileges "a wonderful identification Christ Priest. person Priest, Himself stands altar, picks up bread, lifts 'this goodly chalice' (Psalm 22:5) ("hunc praeclarum calicem"). Through mode speech, clear expression given fact it now active, virtue deriving Him transubstantiation follows takes place."11 This Mass instead stood core orthodox doctrine worship ninth...
Studies in Philology