other dramatic--and assert an absolute existence for itself. Still
closer is the resemblance when we consider the dramatic character of
the Roman ritual, with its sublime conceptions of Real Presence and
Transubstantiation. The ritual during Holy Week, for example, is the
story of the Passion, partly narrated, partly in a sort of idealized
representation. When the solemn moment of the Crucifixion is reached
on Good Friday, when the officiating priests advance in turn to
adoration while the Cross itself lifts its voice in "Reproaches" to
the multitude with Palestrina's music, who does not feel the dramatic
directness of the representation?

Popule meus, quid feci tibi? aut in quo contristavi
te? responde mihi.

_Chor_. [Greek: agios ho theos, agios hischuros, agios
'athanatos.]

Quia eduxi te de terra Aegypti: parasti crucem
Salvatori tuo.

_Chor_. Sanctus deus, sanctus fortis, sanctus et immortalis.
Miserere nobis.

--The chorus answering each "Reproach" alternately in the Greek of the
Eastern Church and the Latin of the Western Church. Such music as this
has quite a different character from that of our concert-rooms; it is
music which means something.

[Footnote 20: Ambros., Gesch., ii. p. 286.]