This page, when completed, will narrate the centuries of church abolishment and resurrection between the classics and their rediscovery.
Some wonder if the proscription of theatre throughout western Europe caused the Dark Ages of the next 600 years, during which time religion battled for souls and pondered the puzzle of how many angels could dance on the head of a pin.
Others note the irony of an Easter Sunday near the end of the first millennium, in the predawn light of the Renaissance, at the Catholic monastery of St Gall, in Switzerland, where priests impersonating angels and the Marys acted out the Quem Quaeritis trope, in Latin:
“Whom seek ye in the tomb, Oh Christians?”
“Jesus of Nazareth, the crucified, O Heavenly Beings.”
“He is not here, he is risen as foretold. Go and announce that he has risen from the tomb.”
Ironically, almost simultaneously, a German nun, Hrosvitha (935–73 CE), “the most remarkable woman of her time,” wrote six plays in Church Latin, modeled on Terence (but with Christian themes), to become the world’s first Neoclassic playwright, and one of the very few whose whose names and works appear until the late Fourteenth Century. Whether these plays were performed in their time is doubtful—surely not for the laity; they were in Latin, and theatrical performances were still forbidden.
Not so with Quem Quaeritis. In no time scriptural tropes turned into playlets, in vernacular dialects, based on Bible stories to attract worshipers, so successful that they overflowed into the streets and spread all over Europe, converting monarchs and their subjects to the One True Faith.