Saviour; they present their offerings and withdraw. In a more advanced
form the three Magi approach the altar separately from different
directions, are guided by a moving 'star' down the central aisle to an
altar to the Virgin, bestow their gifts there, fall asleep, are warned
by an Angel, and return to the choir by a side aisle. For this version
the service of song also is greatly enlarged. Another rendering of the
story adds to it the interview between the Magi and Herod; yet others
include a scene between Herod and his Councillors, and the announcement
to Herod of the Magi's departure; still another extends the subject to
include the Massacre of the Innocents. Finally the early Shepherd
episode is tacked on at the beginning, the result being a lengthy
performance setting forth in action the whole narrative of the birth and
infancy of Jesus.

Here then is drama in its infancy. A great stride has been taken from
the first crude burying of a crucifix to an animated union of dialogue
and natural action. The scope of the Mystery (for so these
representations were called) has been extended from a single incident to
a series of closely connected scenes. In its fullest ecclesiastical form
it consisted of five Epiphany Plays, of the Shepherds (or _Pastores_),
the Magi (or _Stella_ or _Tres Reges_), the Resurrection (or _Quem
quaeritis_), the Disciples of Emmaus (or _Peregrini_), and the Prophets
(or _Prophetae_), the last perhaps intended as a final proof from the
Old Testament of Christ's Messianic nature. Four points, however,
deserve to be noted. The language used is always Latin. The subject is
always taken from the Bible. Close correspondence is maintained with the
actual words of the _Vulgate_ (compare the Magdalene dialogue with John
xx. 13-17). The Mystery is performed in a church. Each point, it will be
observed, imposes a serious limitation.