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The Liturgical Context of Early European Drama

:	Salvatore Paterno
:	The Liturgical Context of Early European Drama
:	Digitalia
:	9780916379629
:	1
:	CHF 48.20
:

:	Dramatik
:	English

:	170
:	DRM
:	PC/MAC/eReader/Tablet
:	PDF

“This book can be interestingly and profitably read not only by an academic audience but also by a general public for an understanding and appreciation of two bedrocks, drama and liturgy, a twentieth-century culture.” Lawrence H. Klibbe, New York University.“A chapter on coronation rituals will attract special interest among historians.”-Journal of Medieval History.

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.

	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