Ad imaginem suam: regional chant variants and the origins of the Jeu d'Adam

Comparative Drama, Fall-Wntr, 2002 by Charles T. Downey

Three of the Jeu d'Adam responsories are found in medieval sources mostly with one standard verse and, in occasional manuscripts, other unusual verses. The author of the Jeu d'Adam has translated elements of the standard verse in these cases, so the hypothesis that he was familiar with the chant tradition of a French monastery continues to hold true. The responds and verses for Dixit dominus ad Adam, (27) In sudore vultus tui, (28) and Ecce Adam quasi unus ex nobis (29) are compared to their respective translations in the play in table 1.

For the other three responsories in the play, however, manuscript sources present us with a choice of more than one well-established verse. The play's French text appears to provide indications that the author intended to translate not only the respond but also the specific verse with which he was familiar (table 1). For most of the responsories, one verse may be described as the most common, a standard verse found widely in manuscripts from England, France, Spain, and Italy. A second verse is usually found in manuscripts from Germany, Austria, and German-speaking regions of Switzerland. If there are more than two verses, additional verses are typically limited to a smaller range of manuscripts. Not surprisingly, the author of the Jeu d'Adam was familiar with the French verse for all but one of the remaining responsories.

The second responsory in the play, Tulit ergo Dominus hominem, is sung after Figura places Adam and Eve in Paradise. In the manuscripts surveyed it was found with only two different verses (table 1). Verse A is found in almost all French (northern and southern) and English manuscripts, including those used by both Chailley and Muir. (30) This standard verse is also found in Italian, Spanish, and Dutch sources. Verse B, which appears to be less common, is found mainly in Swiss, German, and Austrian manuscripts. (31) Unfortunately, Noomen's source for the responsory texts, the Liber responsalis, includes this "Germanic" verse rather than the "French" one with which the author of the Jeu d'Adam was evidently familiar. A third verse, beginning "Precepitque dominus dicens" (verse C), is found only in two manuscripts and not in any of the CAO manuscripts. (32)

Tulit ergo is a narrative rather than a dialogue, but the actions of the responsory are played out by Figura and absorbed into the dialogue of Figura and Adam. (33) With the action of showing Paradise to Adam, the dialogue refers to the Latin term for Eden ("paradisum voluptatis") by naming it "Paradis" and by Adam's reaction to seeing it ("Mult par est bel"). Next, God's action of taking Adam and placing him in the garden is played out by Figura ("Dedanz uus met"). Finally, the beginning of the French verse A ("Plantaverat autem dominus deus paradisum voluptatis") and Adam's role in the garden mentioned at the end of the respond ("ut operaretur et custodiret illum") are translated in God's command to Adam ("Jel plantai e asis/ ... Jol toi command por maindre e por garder"). By contrast, no part of the Germanic verse B has been translated in this section of the play.