The Liturgical Context of Early European Drama (eBook)

Table of Contents 6
Preface 10
Foreword 12
Introduction 14
Chapter I: CHRISTIAN ATTITUDE IN A PAGAN MILIEU 16
A. Patristic Period 17
a. Tertullian 17
b. Novation 17
c. St. Cyprian of Carthage 18
d. Lactantius 19
e. St. John Chrysostom 20
f. Salvian 21
g. Ausonius 23
h. St. Clement of Alexandria 25
i. Appolinaris 26
j. St. Athanasius 28
k. Prudentius 30
l. St. Augustine 32
Chapter II: ECCLESISTICAL, RESTRICTIONS AND PROHIBITIONS 34
1. Synod 35
2. Canons of the African Church 36
3. Council of Trullo 37
4. Council of Elvira 38
5. Council of Toledo III 40
Chapter III: NOTION OF WORSHIP: FROM TEXT TO PERFORMANCE 43
1. Evidence from the Old Testament 44
2. Evidence from the New Testament 46
3. Evidence from the Christian Community 47
Chapter IV: NATURE OF WORSHIP ENTAILS THE SENSE OF THE DRAMATIC 50
Evidence of Dramatic Impulse In Early Liturgical Texts 51
1. Pre-Nicene Period 51
2. Post Nicene Period 54
3. Pilgrimage of Egeria 69
Chapter V: RECONCILIATION OF PENITENTS 76
1. Church's Position 76
2. Old Testament Basis 77
3. Patristic Period 78
4. Development and Contents of the Rite for Penitents 81
5. Penitential Gestures 83
6. The Rite Itself 86
7. Concluding Remark 90
Chapter VI: DEDICATION OF CHURCHES 92
1. Old Testament Sources 93
2. Early Patristic Sources 94
3. Later Christian Sources 97
Chapter VII: CORONATION OF RULERS AND OF THOSE IN AUTHORITY 111
1. Early Testimony 111
2. Coronation Rites 112
3. The Sanctuary 112
4. Investing King with Insignia 113
5. Anointing of the King 113
6. Acclamations 114
7. Royal Throne 114
8. Homage 115
A. Dramatic Overtones of Biblical Texts 115
B. Early Evidence of Anointing 117
a. St. Gregory 117
b. Julian of Toledo 117
c. Charlemagne 118
d. Hincmar of Rheims 120
e. Louis II 124
C. Anglo-Saxon England 125
1. King Edgar 126
2. Egbert's Pontifical 127
D. Continental Witnesses 129
1. Aachen 129
2. St. Peter Damian 130
3. Papal Coronations 131
Chapter VIII: MONASTIC INFLUENCES 133
A. Divine Office 133
B. Regularis Concordia 134
C. Monastic Constitutions of Lanfranc 138
D. St. Hildegard of Bingen 144
E. Monastic Displeasure 147
Chapter IX: SUNDRY ELEMENTS OF DRAMATIC NATURE IN THE LITURGY 149
A. Eastern Testimony 149
B. Western Testimony 151
C. Hand Clapping 157
D. Vatican Council II 157
Conclusion 159
Bibliography 163

Introduction (p. 1)

Ancient World

The dance seems to have played a vital part in the religious life of many ancient peoples. Perhaps it began as mere ceremony or custom and eventually added with a religious tone, while in some societies it never received a religious significance. Although the dance is mentioned in connection with religious festivity in the Old Testament, it never really attained a place of importance. We read in Exodus 15:20-21:

"The prophetess Miriam, Aaron`s sister, took a tambourine in her hand, while all the women went out after her with tambourines, dancing, and she led them in the refrain: Sing to the Lord, for he is gloriously triumphant, horse and chariot he has cast into the sea."

The overall tone of this incident is one of joy and festivity. The people had been freed by the power of their God, and He had manifested to them His concern and care. There is rejoicing because that which has taken place delights the people, while at the same time some sort of praise is rendered by dance, to the Divinity.

Several hundred years later David has the Ark placed on a new cart to be brought to Jerusalem. David made merry with all his strength, with singing and with cymbals. One reads in // Samuel 6:14, 16:19: "Then David, girt with a linen apron, came dancing before the Lord with abandon, as he and all the Israelites were bringing up the Ark of the Lord with shouts of joy and to the sound of the horn...Saul`s daughter Michal looked down through the window and saw King David leaping and dancing before the Lord...David offered holocausts and peace offerings before the Lord...he blesses the people then distributed among all the people, to each man and each woman in the entire multitude of Israel, a loaf of bread, a cut of roast meat, and a raisin cake. With this, all the people left for their homes."

Dance and celebration seem to recieve the game attention as the transferral of the Ark. It comes as no surprise to view this expression of worship in the Judeo-Christian tradition, i.e., both the spiritual as well as physical element in man have equal share in adoring the invisible God. The dance, in this context, although performed by David alone, retains its dignified expression of prayer.

His dancing before the Lord, is the externalization of that same sentiment which he expresses in offering holocausts and peace offerings — the formalized pattern of prayer. For David, this dancing and making merry before the Lord, are truly expressions of adoration.

The religious tone is not diminished by the mentioning of the distribution of bread, meat and raisin cake, on the contrary, it seems to intensify the overall well being that the worshipers experience after good liturgy, i.e., public worship. On the other hand, the dance in the Germania of Tacitus (55-120 A.D.) is mentioned as a form of public show.