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The third scene takes place on the road to Emmaus. Neither the actor’s text nor the didascalies suggest that decorations were required here, although they do allow us to reconstruct the movements of the play. " The next fragment is the most dramatic, indeed, semi-pantomimic: after only four verses two by Christ and two by Luke, we read, "Y [Luka] vyjmct xlib, a pered Xrysta poloyt. Xrystos te pcrekrestyv"Iy pere lomyt xllb y podast movjaCy: THE UKRAINIAN POPULAR RELIGIOUS STAGE 323 Y vy druzy tojde xlIb pryjmIte, A v"kupI so mnoju jadite Tu podav"y ym xlIb ncvydymo ot nyx otydet, a ony z soboju Eho ne obaCyv"Iy poznajut toj Cas, e to Xrystos byl yz namy.

MDCCCLXXXIV, du 3Ojuin 1633. ’65 Au milieu du mois d’octobre, l’arméc ottomanc, dirigee cette fois-ci par Abaza Paa, fait lc siege de la villc de Kamjanec’ mais n’obticnt que quelqucs succès limités. ’67 L’année suivante, en avril, Trebiñski, l’envoye polonais, quitte Istanbul en emportant avec lui les conditions de paix de la Porte. ’68 Le sultan part en eampagne mais ne dépasse pas Andrinople Edirne. ’7’ A la Porte, on était d’ailleurs dispose a faire des concessions. Les lettres envoyées par Murtazã Paa, par le qapudan-pafa a’fer et par le qaymmeqam Bayram Paa au roi, au chancelier et au hetman dc Pologne, en font foi.

After the refrain, however, Christ’s monologue begins with the words: "Stoj, Anhcle, poCekaj, daj my Casu v ruky! " In the third scene the pleas from hell’s abyss strengthen Christ in his decision and steadfastness as he faces his Mother’s entreaties. The refrain comes at the very end of the scene followed by the speech of Christ and another by the Blessed Virgin. " It concludes with Christ departing for his passion, and the Blessed Virgin following him as witness. The second refrain is compositionally a part of the culminating monologue given by the Church, or, more precisely, of the mono logue’s last and longest part lines 511-64, which is directed to the crucified Christ.

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