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The Jeu D'adam: MS Tours 927 and the Provenance of the Play

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The Jeu D'adam: MS Tours 927 and the Provenance of the Play Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute Publications 11-30-2017 The Jeu d'Adam: MS Tours 927 and the Provenance of the Play Christophe Chaguinian Follow this and additional works at: https://scholarworks.wmich.edu/mip_edam Part of the Dramatic Literature, Criticism and Theory Commons, and the Medieval Studies Commons Recommended Citation Chaguinian, Christophe, "The Jeu d'Adam: MS Tours 927 and the Provenance of the Play" (2017). Early Drama, Art, and Music. 2. https://scholarworks.wmich.edu/mip_edam/2 This Edited Collection is brought to you for free and open access by the Medieval Institute Publications at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. The Jeu d’Adam EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Independent Scholar Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences The Jeu d’Adam MS Tours 927 and the Provenance of the Play Edited by Christophe Chaguinian Early Drama, Art, and Music MedievaL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data Names: Chaguinian, Christophe, editor. Title: The Jeu d’Adam : MS Tours 927 and the provenance of the play / edited by Christophe Chaguinian. Description: Kalamazoo : Medieval Institute Publications, Western Michigan University, [2017] | Series: Early drama, art, and music monograph series | Includes bibliographical references. Identifiers: LCCN 2016050477 (print) | LCCN 2017010317 (ebook) | ISBN 9781580442664 (hardbound : alk. paper) | ISBN 9781580442671 Subjects: LCSH: Adam (Mystery) | Adam (Biblical figure)--In literature. | Anglo-Norman literature--History and criticism. | Bible plays, French--History and criticism. | Liturgical drama--History and criticism. Classification: LCC PQ1345.A3 J48 2017 (print) | LCC PQ1345.A3 (ebook) | DDC 842/.1--dc23 LC record available at https://lccn.loc.gov/2016050477 ISBN: 9781580442664 eISBN: 9781580442671 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in, or introduced into a retrieval system, or trans- mitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Contents List of Illustrations vii Introduction xi The Jeu d’Adam: A Monastic or a Secular Play? 1 Christophe Chaguinian The Jeu d’Adam: An Anglo-Norman Text? 41 Catherine Bougy The Responsoria of the Ordo representacionis Ade 65 Océane Boudeau Pax Gallie: The Songs of Tours 927 87 Mary Channen Caldwell Observations on the Tours Ludus Paschalis 177 Michael L. Norton Works Cited 259 Index – Incipits, Manuscripts, People, Places, Responsories 273 Index – Linguistic Features in Jeu d’Adam 284 This page intentionally left blank. List of Illustrations Christophe Chaguinian Figure 1.1. Incipit of the Jeu d’Adam. Folio 20r. ......................2 Catherine Bougy Map 2.1 “La Normandie à la jonction de deux domaines” (Normandy at the crossroads of two zones) in Lepelley, La Normandie dialectale, 46. ......................................42 Océane Boudeau Figure 3.1. Historiated Initial Depicting the Eviction of Penitents from the Church. 71 Figure 3.2. Historiated Initial Depicting the Return of the Penitents to the Church.....................................72 Map 3.1. Localization of the Manu scripts Originating in a Secular Institution. .81 Map 3.2. Localization of the Secular Institutions in which the Seven Responsoria of the Ordo representationis Ade were Sung. ........83 Table 3.1. Incipits of Responsoria ..................................67 Table 3.2. Biblical Sources of the Reading and Responsoria............67 Table 3.3. Structure of Monastic and Secular Nocturns...............67 Table 3.4. Organization of the Pre-Lenten and Lenten Seasons........68 viii LisT OF ILLUSTraTIONS Table 3.5. Series of Responsoria from which the Ordo Responsoria were Excerpted................................74 Table 3.6. Monastic Manu scripts Consulted.........................75 Table 3.7. Secular Manu scripts Consulted...........................78 Table 3.8. Monastic Manuscripts Containing the Responsoria of the Ordo. .......................................79 Table 3.9. Comparison between Paris lat. 743 (monastic) and Paris lat. 781 (secular). ....................................80 Table 3.10. Secular Manu scripts Containing the Responsoria of the Ordo. .......................................82 Mary Channen Caldwell Figure 4.1. Comparison of Neumes in Tours 927, fol. 13v, and F, fol. 463r. 95 Figure 4.2. Comparison of Liquescent Neumes in Tours 927, fol. 14v, and Oxford 937, fol. 446v. ......................97 Figure 4.3. Analysis of Strophe 1 of In laudes debitas, Tours 927, fol. 9v (PP=proparoxytonic). ...........................99 Figure 4.4. F, fol. 463r, historiated initial “D-” of De patre principio . ............................................101 Example 4.1. France, Bibliothèque nationale, latin 1112, fol. 466r, Sexta passus feria; F, fol. 464r and Tours 927, fol. 10v, Mors vite propicia (“propitia” in F)......................110 Example 4.2. Tours 927, fol. 11v, Nicholaus inclitus . ................112 Example 4.3. Vocis tripudio, Comparison of F, fol. 464r, and Tours 927, fol. 13r. .......................................117 Example 4.4. Comparison of Salve virgo virginum in F, fol. 469v and Tours 927, fol. 9v. ........................................118 Table 4.1. Contents of Tours 927...................................90 LIST OF ILLUSTraTIONs ix Table 4.2. Musical Works in Tours 927 .............................92 Table 4.3. Non-Refrain Form Works in Tours 927. ..................93 Table 4.4. Comparison of French and Latin rondeaux. ..............100 Table 4.5: Textual sources for Dies felix et Gloria....................107 Table 4.6. Comparison of Sequence Sexta passus feria and Mors vite propicia. ........................................108 Table 4.7. Comparison of strophe 6 of Procedenti puero in Tours 927, F, and St. Gall 383 and 546 . 120 Table 4.8. Comparison of Final Strophes of Qui passus est pridie. .....122 Michael L . Norton Figure 5.1. Opening Gatherings of Tours 927.......................181 Example 5.1. Comparison of “Omnipotens pater altissime” .........188 Example 5.2: Comparison of “Heu redemption Israel” ..............189 Example 5.3. Comparison of “O Deus! Quis revolvet” ..............190 Example 5.4. Comparison of “Recordamini, qualiter locutus est.” ....193 Example 5.5. Comparison of “Nisi videro in manibus.”..............195 Example 5.6. Comparison of “Videte manus meas” . ................195 Example 5.7. Pilatus Motive 1 (“Venite ad me milites”). .............196 Example 5.8. Pilatus Motive 1 Distribution. .......................197 Example 5.9. “Quem queritis in sepulchro” and “Surrexit Dominus in sepulchro.” ..............................198 Example 5.10. Pilatus Motive 2 (“Venite ad me milites”).............198 Example 5.11. Pilatus Motive 2 Distribution. ......................199 Example 5.12. Milites Motive (“Ergo eamus” and “Ne forte veniant”). ......................................200 x LisT OF ILLUSTraTIONS Example 5.13. Milites Motive Distribution. ........................200 Example 5.14. Comparison of “O quam magno” Melodies. ..........201 Example 5.15. O quam Motives 1 and 2 (“O quam magno”)..........201 Example 5.16. O quam Motive 1 Distribution. .....................202 Example 5.17. “Ihesu Christe, mundi tocius Gloria.” ................203 Example 5.18. “Ihesu Christe, tu spes mea.” ........................203 Example 5.19. O quam Motives in the Opening Lines of “Ihesu Christe, mundi,” “O quam magno,” and “Ihesu Christe, tu spes mea.” ..................................204 Table 5.1. Tours Ludus Paschalis Structural Overview. ..............184 Table 5.2. Comparison of Tours Ludus Paschalis, Section 1 (Visitatio Sepulchri, part 1) ..........................187 Table 5.3. Comparison of Tours Ludus Paschalis, Section 2 (Magdalene) .......................................191 Table 5.4. Comparison of Tours Ludus Paschalis, Section 3 (Peregrinus). .......................................194 Table 5.5. Distribution of Motives among Unique Texts in the Tours Ludus Paschalis . .....................207 Table 5.6. Correspondence of the Tours Ludus with the Diatesseron and its Gospel Sources. ....................210 Table 5.7. Correspondence of the Diatesseron and its Gospel Sources with the Tours Ludus . 211 Introduction TheJeu d’Adam: Tours 927 and the Provenance of the Play HIS VOLUme OF essaYS is closely related to my critical edition Tand translation into modern French of the Jeu d’Adam (Paradigme, 2014). As I began working on the Jeu d’Adam, I was astounded to realize that the extensive bibliography for the play concerns almost exclusively its literary aspects, with very few works on the
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