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Francesc Massip

Libri dell'autore

Un dolore fatto gioia
Passione, morte e resurrezione della Vergine nel Medioevo ispanico
digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2003 - 2. Il corpo passionato. Modelli e rappresentazioni medievali dell'amore divino
Anno: 2003
The drama of the Assumption of Mary, based on apocryphal stories, endeavoured to transpose and adapt scenes from the canonical Gospels that had already been dramatised in ancient times. Concretely, one notes a pronounced parallelism with the passages of the Passion of Christ, which constituted the foremost stage performance in the Gothic era. The dramatic rendering of the Passion first arose through the humanisation of the Christian religion in the wake of spiritual changes taking place in the XIIIth century, ushered in above all by the preaching orders. Just as the triumphant figure of Christ the King of the Romanesque era became the suffering and sorrowful Christ of the Gothic age, his mother underwent a change of role: from the hieratic throne of the son she was transformed into the progenitrix who suffers the agony of Christ during the Passion and bewails the loss of her son after the Ascension. Such coincidences can be observed in the most ancient dramatic mysteries of the Iberian Peninsula on the death and assumption of Mary: the Mystery of the Cathedral of València (around 1420) and that of Elx (around 1475). These mysteries begin with the Virgin’s passage through the holy places, that is to say the places of the Passion and the Death of Christ: the Garden of Gethsemane where Jesus prayed, sweat drops of blood and was captured, the Golgotha where he was crucified, and the sepulchre where he was buried. The Mystery of Tarragona (around 1388), on the other hand, begins with a conspiratorial meeting among the Jews who are plotting to seize the body of the Blessed Virgin, thereby reflecting the «Consilium contra Christum» of the Passion. The angel that comforts Mary with the branch of Paradise and the annunciation of her death has a correspondence in the anglic consolation (with chalice and cross) that Jesus receives in Gethsemane. The drama of theAssumption gathers the apostles around Maria, with the exception of Thomas, similarly to the apostolic gathering at the Supper-table, after the Resurrection of Christ, during which Thomas was likewise absent. The «Judgement scene» which appears in Tarragona and Elx during the burial of Maria translates the scene of the arrest of Christ, including the brawl between Peter and the Jews. Finally, the burial accompanied by the singing of the hymn In exitu Israel de Egipto, and the assumption and incoronation of the Virgin are dramatic adaptations of the respectives scenes of the burial, resurrection and ascension of Christ.
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