Andrew
Lawrence-King comments:
In spite of its
literary and musical sophistication, Ludus Danielis was not merely an exquisite work of dramatic composition, it was also
an event, a theatrical ÔhappeningÕ that formed part of the post-Christmas
celebrations. In mid-12th
century France, January 1st was given over to the most junior
clerics, the sub-deacons, and their festum subdiaconorum was often referred to as the Feast of Asses, or the Feast of Fools.
It was a day when
the normal hierarchy of the cathedral was turned upside-down. There was no
rubric, no ordo for this day: it was a reunion of old friends
from all around the country, a party, a tripudium Ð a word associated with feasting and dancing. A young boy might usurp
the role of Bishop for the day, the cantorÕs rod of office might be stolen by
the choirboys, and contemporary sermons complain of all kinds of irreverent
behaviour in the church: fortune-telling and divinations; masks, disguises and
feigned madness; foolish and sinful poetry in conductus metres or even in the
vernacular; dancing, profane laughter and cacophony; priests clapping their
hands or playing string instruments and drums; eating; drinking and dicing at
the high altar; wild ringing of the cathedral bells; youths riding an ass, beating
one another with a stick, and running around in the church.
As the medieval
scholar Margot Fassler has shown, all these high-jinks are incorporated into
the plot of Daniel. The Drama was
indeed ludus,
ÔplayÕ as well as Ôa PlayÕ. Belshazzar is king for the day only, and he
is violently dethroned by two singers who run though the church to ÔkillÕ him.
At his feast, the Babylonians eat and drink at the altar from genuinely sacred
vessels (the cathedral chalice was entrusted to the care of the sub-deacons),
and they are entertained by foolish astrologers, and by the arrival of a
colleague from the remotest ÔregionsÕ dolled up as the Queen.
King DariusÕ
courtiers make repeated reference to the tripudium. Groups of messengers scurry around the church looking for the Wise
Men or for Daniel. When they find him, they speak to him in their own native
dialect. The Angel gets to drag old Habbakuk across the cathedral Ôby the hair
of his head.Õ There are also ample opportunities for fun in dressing Daniel in
purple robes, stripping them off again, robing him once again, and menacing him
from behind a lion-mask. Finally, there is the humiliation and ÔslaughterÕ of
the Evil Counsellors. At the crucial moment of the drama, as Darius is fooled
into passing the law that will send Daniel to the LionsÕ Den, his mock-solemn
proclamation is transformed into the bray of an ass: at this point, Darius has
become the Lord of the Fools, a veritable Donkey-King.
Thus the
traditional revelry of the Feast of Fools is itself made a religious symbol,
transmuting the orgiastic excess of the tripudium into a dramatic spectacle dedicated to the honour of the Christ-child.
All the blasphemy is ascribed to the misrule of the Babylonians, whilst Daniel
himself is a model of Christ-like obedience and innocent suffering. Ludus Danielis is both carnival and culture: it creates liturgical ordo out of chaotic play, and it presents a Play in which the bawdy humour
of the comedy heightens the pathos of the drama.
Bearing
in mind the heady mixture of spiritual ecstasy and earthy humour that pervades
the whole play, it is difficult to imagine the revellers at the Feast of Fools
keeping meek silence whilst the sub-deacons run through the cathedral to ÕkillÕ
King Belshazzar.
The supreme moment of symbolic folly,
where Darius is transformed into an ass, marks the turning point of the plot.
The spectacle of a mad King rampaging around the church illustrates the
principal motive of the Feast of Fools revels Ð the breakdown of the normal
hierarchy of power Ð and hints darkly at political tensions and power struggle
between church and state, between the capital and the outlying region.
The mock ritual in which an ass is led
around the cathedral is also of the most ancient elements of the tripudium. Here the singers burst out of the
prescribed ordo to join with the instrumentalists in the famous Prose of the Ass.
It is tempting to
see the dedicated irreverence of Daniel as a
metaphor for the basic paradox of performing early music, which demands that
musicians exercise the freedom to improvise within the ordo of authenticity.
The medieval ludus (like the sprezzatura of 17th century opera) bestows a licence to break the
accepted rules, and throws down a challenge to understand the conventions well
enough to flaunt them, to be appropriately disobedient, to have serious fun.