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To observe that Mary Magdalene, in her role as "apostle to the apostles," tran scends the limits of human expression is to say nothing new; many versions of the Easter story attest to her transformative role.1 What is surprising is the ability of a relatively neglected group of texts, known collectively as the Shrewsbury Frag ments, to demonstrate just how transformative her mode of expression can be. The combination of Latin and English verses that make up the Shrewsbury Frag ments is, according to their modern editor, Norman Davis, unknown in any other text of English provenance.2 Critical interest in these works has been largely lim ited to source hunting and attempts to establish a date for them because, doubtless, of what they are: tantalizing excerpts from an Officium pastorum, an Officium Resurrectionis, and an Officium peregrinorum on folios 38r-42v of a fifteenth century paper manuscript, Shrewsbury School MS VI (formerly Mus.III.42).3 W. W. Skeat brought these plays to public attention in 1890 and noted corre spondences between them and the Shepherds play (number 15) of the York cycle. He seems to have started the speculations about them.4 The result has been several

speculum

Mary Magdalene Preaches through Song: Feminine Expression in the Shrewsbury "Officium Resurrectionis" and in Easter Dramas from the German Lands and Bohemia