In the tenth century the all-important step from tableau to dialogue and
action had been taken. Its initiation is shrouded in obscurity, but may
have been as follows. Ever since the sixth century Antiphons, or choral
chants in which the two sides of the choir alternately respond to each
other, had been firmly established in the Church service. For these,
however, the words were fixed as unchangeably as are the words of our
old Psalms. Nevertheless, the possibility of extending the application
of antiphons began to be felt after, and as a first stage in that
direction there was adopted a curious practice of echoing back
expressive 'ah's' and 'oh's' in musical reply to certain vital passages
not fitted with antiphons. Under skilful training this may have sounded
quite effective, but it is natural to suppose that, the antiphonal
extension having been made, the next stage was not long delayed.
Suitable lines or texts (_tropes_) would soon be invented to fill the
spaces, and immediately there sprang into being a means for providing
dramatic dialogue. If once answers were admitted, composed to fit into
certain portions of the service, there could be little objection to the
composition of other questions to follow upon the previous answers.
Religious conservatism kept invention within the strictest limits, so
that to the end these liturgical responses were little more than slight
modifications of the words of the _Vulgate_. But the dramatic element
was there, with what potentiality we shall see.

So much for dramatic dialogue. Dramatic action would appear to have
grown up with it, the one giving intensity to the other. The development
of both, side by side, is interesting to trace from records preserved
for us in old manuscripts. Considering the occasion first--for these
'attractions' were reserved for special festivals--we know that Easter
was a favourite opportunity for elaborating the service. The events
associated with Easter are in themselves intensely dramatic. They are