Of "Stages" and "Types" in Visitatione Sepulchri (Part I)

140Comparative Drama 19While examples of the Type I Visitatio Sepulchri with Magdalene amplification may appear equally well dispersed, all but two (Vich, Museo Biblioteca Episcopal MS. 105, fols. 58v-62v [LOO 823, from Vich], and Zurich, Zentralbibliothek MS. Rheinau 18, fols. 282-83 [LOO 797, from Rheinau]) stem from areas under Norman influence and follow the Norman usage. On the Magdalene amplications of the Type II Visitatio Sepulchri, see Norton, pp. 96-109. 20See Example 2, published with Part I of this article. 21LOO 186 (Augsburg) and 371 (diocese of Würzburg). 22LOO 185 (Augsburg?) and 563 (Einsiedeln). The Einsiedeln manuscript gives directions for optional performance. Other settings with elements of both dialogues include those from the monasteries of Weingarten (LOO 760) and Fulda (LOO 760a), which insert the first two lines of the Type I dialogue within the Type II dialogue frame, and that from Asbeck bei Legden (LOO 184), which inserts the third line of the Type I dialogue within the Type II frame. 23LOO 784 (Engelberg), 577 (Gotha), and 451 (Stockholm). In the Engelberg setting, the first line of the dialogue (Quern queritis) uses the Type II text with a Type I melody, the second line (Jesum Nazarenum) includes the Type I text and melody, whüe the third line (Non est hie) includes the Type II test and melody. Both the Gotha and Stockholm settings use the complete Type II text with Type I melodies. See Norton, pp. 92-95. 24LOO 783. The texts are as follows: Quem vos, Quem fientes/ Nos Ihesum Christum/ Non est hic vere. 25LOO 724, 723, and 725. The sequence is as follows: Sedit angélus (CAO 4859), Virtute magna, Maria Magdalena et altera Maria ibant, Quis revolvet, and Nolite expavescere (CAO 3892). 26LOO 151-53 (Poitiers), 170 (Troyes), and 470a (Gran). Errata: In Part I of this article published previously in Comparative Drama (Spring 1987), the following emendations should be made: (1) in Example 1, p. 52, line 4, the underlay for notes 5-7 should be ui-uen-tem; and (2) in Example 2, p. 57, line 5, under notes 3-6, the word should be redemptio. Of "Stages" and "Types" in Visitatione Sepulchn (Part I) Michael L. Norton In 1887, Carl Lange proposed the means for ordering the repertory of the medieval Visitatio Sepulchri that remains the foundation for nearly all discussions of the subject.1 Based in part upon Gustav Milchsack's four-part division of the repertory ^ Lange's categorization of the Visitatio Sepulchri was as striking in its simplicity as it was to be pervasive in its influence. Using dramatic complexity as his guide, Lange separated the surviving texts of this Easter rite into three groups or "stages" (Stufen). The texts of the first stage depicted the encounter between the Marys and the angel(s) at the empty tomb of Christ, the texts of the second stage added the race to the tomb by the apostles Peter and John, while the texts of the third stage (the most complex within the hierarchy) included the appearance to Mary Magdalene of the risen Christ as well. The structure of the classification fit the available evidence admirably , and in the course of time the framework provided by Lange's classification became so firmly entrenched in the scholarly understanding that later attempts to destroy the edifice could only manage to gut portions of its interior.3 After fully a century, this tripartite division of the repertory of the Visitatio Sepulchri shows few signs of decay. Indeed, to attempt even a cursory examination of the repertory without the framework provided by Lange's classification would be, if not an act of heresy, certainly an exercise in futility. The most recent edition of Visitatio texts barely deviates in its organization from that of Lange's edition,4 and one is hard pressed to find, even in the works of the most astute inquirers, a discussion of this form in terms other than those of Lange's three stages. MICHAEL L. NORTON is a musicologist living in northern Virginia who is employed full-time as a computer systems analyst and part-time as a church music director. 34 Michael L. Norton35 Its...