04619oam 22005654a 450 991052486370332120230621140215.00-8018-0254-71-4214-3046-0(CKB)4100000010460838(OCoLC)1122194322(MdBmJHUP)muse78142(oapen)https://directory.doabooks.org/handle/20.500.12854/88852(MiAaPQ)EBC29139140(Au-PeEL)EBL29139140(oapen)doab88852(OCoLC)1526863823(EXLCZ)99410000001046083820711207d1965 uy 0engur|||||||nn|ntxtrdacontentcrdamediacrrdacarrierChristian Rite and Christian Drama in the Middle AgesEssays in the Origin and Early History of Modern Drama /by O.B. Hardison, Jr1st ed.Johns Hopkins University Press2019Baltimore,Johns Hopkins Press[1965]©[1965]1 online resource (xiii, 328 p.)illus1-4214-3087-8 1-4214-3047-9 Bibliographical footnotes.Cover -- Copyright -- Table of Contents -- Preface -- Essay I: Darwin, Mutations, and the Origin of Medieval Drama -- Essay II: The Mass as Sacred Drama -- Essay III: The Lenten Agon: From Septuagesima to Good Friday -- Essay IV: Christus Victor: From Holy Saturday to Low Sunday -- Essay V: The Early History of the Quem Quaeritis -- Essay VI: From Quem Quaeritis to Resurrection Play -- Essay VII: The Vernacular Tradition: Form, Episode, Dialogue -- Epilogue: A Note on the Continuity of Ritual form in European Drama -- Appendix I: Translations -- Appendix II: Chronological Index of Early Liturgical Plays -- Index.Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.Liturgical dramaChristian drama, Latin (Medieval and modern)History and criticismDrama, MedievalHistory and criticismElectronic books. Liturgical drama.Christian drama, Latin (Medieval and modern)History and criticism.Drama, MedievalHistory and criticism.809.251Hardison O. B.Jr.(Osborne Bennett),1928-1990.201898MdBmJHUPMdBmJHUPBOOK9910524863703321Christian rite and christian drama in the middle ages301473UNINA