PN 
 
 3241 
 
 J3 
 
 1880 
 
 MAIN 
 
 
 '-f^Sh. jn&^au. \^ 
 

GIFT OF 
 
^^ 
 
< 
 
 S 
 
 O 
 
 'rt 
 
 Cti 
 
 3 
 
 w 
 
 lIL 
 
 :^ 
 
 •— i 
 
 ^ 
 
 C 
 
 < 
 
 
 Di 
 
 .S 
 -a 
 
 W 
 
 
 M 
 
 
 O 
 
 W 
 
 
 ^ 
 
 H 
 
 w 
 
 < 
 
 o 
 
 W 
 
 ■>!*■ 
 
 CC 
 
 
 H 
 
 a 
 
 < 
 
 W 
 
 c« 
 
 K 
 
 ?. 
 
 H 
 
 •— > 
 
 /^ 
 
 o 
 
 O 
 
 3 
 
 
 
 (/) 
 
 bO 
 
 c/) 
 
 C 
 
 «^ 
 
 -o 
 
 iS^ 
 
 (U 
 
 W 
 
 
 ffi 
 
 
 H 
 
 rt 
 
 
 o 
 
 fe 
 
 . 
 
 O 
 
 
 w 
 
 F* 
 
 O 
 
 3 
 
 <J 
 
 C 
 
 H 
 
 ^ 
 
 C/J 
 
 2 
 
 
 D-, 
 
 W 
 
 <L> 
 
 
 tS 
 
THE 
 
 OBER-AMMERGAU PASSION PLAY: 
 
 ^ILLUSTRATED.'] 
 
 GIVING THE ORIGIN OF THE PLAY, AND HISTORY 
 
 OF THE VILLAGE AND PEOPLE, 
 
 A FULL DESCRIPTION OF 
 
 THE SCENES AND TABLEAUX OF THE SEVENTEEN 
 
 ACTS OF THE DRAMA, ^ ..']''>> 
 
 1 » ) O ) •' ' ) 
 
 1 J .1 . 5 > ' ' » » 
 
 AND "' ' ••>•»"' '■' ' 
 
 THE SONGS OF THE CHORUS, IN GERMAN AND ENGLISH. 
 BY JOHN P. JACKSON, 
 
 Author of " The Album of the Passion Play at Ober- Antmergau" (1873); of the Etiglish version of 
 Richard Wagner's Music Dramas, " J\ienzi," " Flying Dutchm.an" " Lohengrin" 
 Briill's ''''Golden Cross," and H amerling-Goldschniidf s Musical 
 Allegory, " The Seven Death Sins," &'c., &'c. 
 
 LONDON: SOLD BY V^. H. SMITH & SON AT THE 
 RAILV^AY BOOKSTALLS. 
 
 MUNICH (In Commission): WILLIAM HUMMEL, 20, TURKENSTRASSE. 
 
 PARIS: GALIGNANI LIBRARY, 224, RUE DE RIVOLI. 
 
 BERLIN: A. ASHER AND CO., 5, UNTER DEN LINDEN. 
 
 S^Copy right secured^ 
 1880. 
 
^2ie^a.^^^.ir^.<^^ u>-ii&£s/w 
 
 CK 
 
 l3^^ 
 
 CHISWICK PRESS :— CHARLES WHITTINGHAM AND CO., TOOKS COURT, 
 CHANCERY LANE. 
 
PREFACE. 
 
 HIS little book is, in the main, a condensation of a larger 
 work, " The Album of the Passion Play," which I published 
 in the year 1873. I have endeavoured to give in a limited 
 space all the information necessary for a proper appreciation 
 of the great religious drama which is attracting so many 
 visitors to the beautiful Highlands of Bavaria. With this 
 thought in mind I have devoted an entire chapter to the life of the villagers 
 of Ober-Ammergau, in order to show that these peasant-actors do not begin 
 their dramatic labours in any hasty or pecuniary spirit. I have described 
 the peculiar religious and dramatic training which the villagers enjoy during 
 the years intervening between one series of decennial performances and 
 another, and which enables them to portray in such an artistic, realistic, 
 and devotional spirit the life and sufferings of the Lord. The remarkable 
 influence which the aged priest-dramatist, the Geistlicher Rath Daisenberger 
 (who still lives) has exerted upon the development of his people and the 
 Passion drama cannot be overlooked by anyone desirous of studying the 
 sacred drama and the peasant-players of Ober-Ammergau. 
 
 In the description of the separate acts of the Passion Play I have given 
 the address of the Choragus with which each act is opened, the songs of the 
 Chorus in the original German with English translations, and the essential 
 points of the dialogue spoken by the players. In obtaining the speeches of 
 the Choragus and the text of the drama, I enjoyed peculiar advantages 
 during a lengthy sojourn among the villagers of Ober-Ammergau during and 
 after the performances of the year 1871 ; indeed, I may say that I am per- 
 haps the only foreigner who has had the privilege of perusing the entire 
 manuscript of the Passion Play, so jealously guarded by the villagers them- 
 selves. The complete text of the drama I published in the before-mentioned 
 "Album." 
 
 I have not considered it essential to give the various routes to Munich 
 and Ober-Ammergau, since those persons who determine to make the 
 journey will know where to find all the necessary information on this 
 point. I may say, however, that from Munich the railroad carries the 
 traveller in about two hours as far as Murnau, whence it is a distance of only 
 sixteen or seventeen miles to the village of Ober-Ammergau. Those who do 
 
 445462 
 
IV 
 
 PREFACE. 
 
 not wish to spend much money can take the more popular conveyances, for 
 a few marks ; and there are many to whom a walk of sixteen miles, leisurely 
 taken, will be rather a pleasure than otherwise. Still, a carriage drive from 
 Murnau to Ober-Ammergau and back is very delightful. 
 
 I would advise the readers of this book, however, not to delay the journey 
 to Ammergau until the Saturday before the performance, and not to leave the 
 village until the next day, or even the day after. A few days' sojourn in the 
 village will prove as pleasant as it is recuperative. The people of Ammergau 
 give a simple welcome to their visitors ; the houses and beds are thoroughly 
 clean, and the mountains all about are ever inviting the visitor to excursions. 
 The traveller who " does " the Passion Play in a hurry gets but little enjoy- 
 ment out of his visit to Ammergau. To those who desire to become 
 acquainted with the every-day life of the people, and to take away with them 
 a delightful record of a residence in the village, I would recommend Mrs. 
 Greatorex's book entitled " The Homes of Ober-Ammergau," with etchings 
 of the dwelling-places of the principal actors of the Passion Play. 
 
 London, 
 
 Maj/ St A, 1880. 
 
 J. P. J. 
 
 LIST OF THE PRINCIPAL PERFORMERS IN 1871 AND 1880. 
 
 Christ 
 
 Peter 
 
 John 
 
 Virgin Mary . . . 
 Mary Magdalene 
 
 Herod 
 
 Pilate 
 
 Judas 
 
 Caiaphas .... 
 
 Annas 
 
 Nathaniel .... 
 
 EZEKIEL 
 
 Joseph of Arimathea 
 
 NiCODEMUS. . . , 
 
 Barabbas .... 
 Choragus .... 
 Conductor . . . 
 
 1871. 
 Joseph Mater . 
 Jacob Hett . . 
 Johannes Zwink 
 Franziska Flunger 
 Josepha Lang . 
 Franz Paul Lang 
 Tobias Flunger 
 Gregor Lechner 
 Johann Lang . 
 Gregor Stadler 
 Paul Frdschl . 
 Sebastian Deschler 
 Thomas Rendl . 
 Anton Haafer . 
 Johann AUinger 
 Johann Diemer 
 Jos. Al. Kirschenhofer 
 
 1880. 
 Joseph Maier. 
 Jacob Hett. 
 Johannes Zwink. 
 Anastasia Krach. 
 Maria Lang. 
 Johann Rutz. 
 Thomas Rendl. 
 Gregor Lechner. 
 Johann Lang. 
 Seb. Deschler. 
 Seb, Lang. 
 Rochus Lang. 
 Martin Oppenrieder. 
 Franz Steinbacher. 
 Johann AUinger. 
 Johann Diemer. 
 Jos. Al. Kirschenhofer. 
 
THE 
 
 ROYAL BAVARIAN STAINED GLASS 
 
 MANUFACTORY OF F. X. ZETTLER. 
 
 2 
 
 o 
 
 1-4 
 
 H 
 
 a, 
 
 Q^ 
 O 
 CO 
 
 W 
 Q 
 
 >^ 
 D^ 
 W 
 > 
 
 o 
 
 CO 
 
 o 
 
 Q 
 
 CO 
 CO 
 
 < 
 
 O 
 Q 
 
 Z 
 
 < 
 
 H 
 
 CO 
 
 < 
 Q 
 
 P 
 
 CO 
 
 H 
 
 W 
 
 o 
 
 X 
 
 o 
 
 CO 
 
 
 CO G 
 
 o fe 
 o 
 
 MUNICH: 
 
 MARSSTRASSE, 12, NEAR THE CENTRAL RAILWAY STATION. 
 
BERNESE 
 OBERLAND. 
 
 INTERLAKEN SWITZERLAND. 
 
 INTERNATIONAL RENDEZVOUS OF TOURISTS 
 
 FROM ALL PARTS OF THE WORLD. 
 MOST CELEBRATED CLIMATERIC HEALTH RESORT. 
 
 ALTITUDE i,8oo FEET ABOVE SEA. 
 
 CENTRAL STATION and Starting Poiijt for all Excursions to the grand 
 region of the ALPS and Glaciers of the world-famed BERNESE 
 OBERLAND. Beautiful change of scenery according to each season. Splendid 
 floral period in the Spring season — from April to June. In the Summer season 
 — from July to August — the temperature is always moderate, owing to the 
 refreshing breezes from both lakes ; whilst in the lovely Autumn season — from 
 September to October — the air is the purest, the temperature warm, and the 
 vegetation in its full growth. Whey and Grape Cure. Magnificent alleys 
 of chestnut trees, and shady walks. Park-maze in the Rugen Pine Woods. 
 Numerous Hotels, from the luxurious Grand Hotel to the nice wooden Chalet ; 
 Private Apartments to all requirements. Special Protestant, English, Scotch 
 Presbyterian, and Roman Catholic Churches. The Curhouse (Park Garden) is 
 the centre of reunion of all visitors, and contains Dancing, Concert, and Read- 
 ing Rooms, with a well-compiled Library. Choicest selections played daily by 
 the superior Cur-orchestra. The Prices in the Hotels and Boarding-Houses are 
 not higher, but rather lower, than in most other frequented places. The 
 annual average of visitors is upwards of 100,000. 
 
 
 
 
 
 Rooms. 
 
 Proprietor. 
 
 Victoria 
 
 . Gd. Hotel 
 
 ... ISt 
 
 Class 
 
 230 
 
 Ed. Ruchti. 
 
 Ritschard 
 
 
 
 
 235 
 
 F.AMILIE RiT.SCHARD, 
 
 Jungfrau 
 
 ,, 
 
 
 
 150 
 
 F. Seiler-Stekchi. 
 
 Des Alpes 
 
 
 
 
 180 
 
 .fB. Maurer, 
 
 . . Ok.sch-MUller. 
 
 Rugenhotel„Jungfraublick .. 
 
 
 
 
 100 
 
 Beau-Rivage 
 
 
 
 
 ICO 
 
 H. Regli. 
 
 Schweizerhof 
 
 . Hotel and Pension 
 
 
 
 80 
 
 StRUBIN & WlKTH. 
 
 Belvedere 
 
 
 ... 
 
 
 70 
 
 M. Muller-St>ehi,i. 
 
 Interlaken 
 
 
 ... 2nd Class 
 
 80 
 
 A- Brauen. 
 
 Deutscherhof 
 
 
 
 
 70 
 
 J. Borter-Rubin. 
 
 Ober-Beha 
 
 
 
 
 60 
 
 WwE Ober-Beha. 
 
 Du Nord 
 
 
 
 \\ 
 
 50 
 
 Dl. Vogel. 
 
 Wyaer 
 
 
 
 J, 
 
 60 
 
 H. Wyder. 
 
 Beau-Site 
 
 
 
 jj 
 
 80 
 
 Alb. Ruchti. 
 
 Oberland 
 
 
 
 
 50 
 
 Wagner. 
 
 Du Pont 
 
 
 
 '', 
 
 50 
 
 Brunner Tschanz. 
 
 Bellevue 
 
 
 
 
 40 
 
 Elmer. 
 
 Adler 
 
 
 
 
 20 
 
 Kernkn. 
 
 De la Gare 
 
 
 
 ^'^' 
 
 30 
 
 E. Haller. 
 
 Kreuz ... 
 
 ' H6tei"" 
 
 
 
 25 
 
 F. Bohren-Strubin. 
 
 Rossli 
 
 Hotel and Pension 
 
 '.'.". 3rd 
 
 Clas; 
 
 20 
 
 F. Sterchi. 
 
 Volz 
 
 Pension 
 
 
 
 24 
 
 Dr. Volz. 
 
 Reber 
 
 ,, 
 
 
 
 20 
 
 Gutzchebauch. 
 
 Berger 
 
 H6tel and Pension 
 
 ... 2nd Class 
 
 15 
 
 Berger. 
 
 Pension Anglaise 
 
 
 
 
 20 
 
 E. SiMPKIN. 
 
 Krebs 
 
 Hotel and Pension 
 
 ... 2nd Class 
 
 I"? 
 
 Krebs- BoRTER. 
 
 Indermiihle 
 
 . Brasserie-Restaurant, 
 
 ist Class 
 
 Establishment. 
 
 
OBER-AMMERGAU, SEEN FROM THE PASSION THEATRE. 
 
PLAN OF THEATRE AND PRICES. 
 
 Entrance Entrance 
 
 The seats q^he I., II., and III. ^'Loge," as well as those of the I. and II. 
 '^ Platz," are covered. 
 
 DATES OF PERFORMANCES. 
 
 The performances take place this year on the following days :- 
 
 Monday, 
 
 Sunday, 
 
 Sunday, 
 
 Sunday, 
 
 Sunday, 
 
 Wednesday, 
 
 Sunday, 
 
 Thursday, 
 
 Sunday, 
 
 Sunday, 
 
 Sunday, 
 
 Sunday, 
 
 May 17. 
 
 „ 23. 
 
 „ 30- 
 
 June 6. 
 
 „ 13. 
 
 „ 16. 
 
 ,, 20. 
 
 „ 24. 
 
 „ 27. 
 
 July 4- 
 
 ,, II. 
 
 „ 18. 
 
 Sunday, 
 
 July 
 
 25- 
 
 Sunday, 
 
 Aug. 
 
 I. 
 
 Sunday, 
 
 J5 
 
 8. 
 
 Sunday, 
 
 ,, 
 
 15. 
 
 Sunday, 
 
 >J 
 
 22. 
 
 Sunday, 
 
 ,, 
 
 29. 
 
 Sunday, 
 
 Sept. 
 
 5- 
 
 Wednesday, 
 
 »> 
 
 8. 
 
 Sunday, 
 
 j> 
 
 12. 
 
 Sunday, 
 
 >> 
 
 19. 
 
 Sunday, 
 
 >j 
 
 26. 
 
 When, on any of the above days, the number of visitors is greater than can be accom- 
 modated in the auditorium, the play will be repeated (in full) the day following. 
 
The performance commences at 8 a.m. and continues till 5 p.m., with one hour's 
 intermission (at noon). 
 
 Visitors usually pass the night (preceding the play) at Ober-Ammergau. To secure 
 lodgings and tickets for the play address either of the following persons in Ober- 
 Ammergau : Herrn Burgermeister, Johann Lang ; Herrn Beigeordneter, Joseph Mayer ; 
 Herrn Pfarrer, J. N. Miiller. 
 
 Railroad : Munich — Murnau. 
 
 Leave Munich. Arrive Murnau. 
 
 6 20 a.m. 9 55 a.m. 
 
 10 45 a.m. 2 30 p.m. 
 
 2 30 p.m. 6 10 p.m. 
 
 6 30 p.m. 10 15 p.m. 
 
 *l 50 p.m. 4 5 p.m. 
 
 The last * is a special train, and runs only 
 on the day preceding each performance. 
 The other trains daily. 
 
 Omnibuses, stages, post -waggons, and 
 other vehicles leave Murnau upon the ar- 
 rival of the trains. Time (to drive from 
 Murnau to Ober-Ammergau) four hours. 
 
 Railroad : 
 
 Leave Murnau. 
 
 4 o a.m. 
 
 10 30 a.m. 
 
 2 55 p.m. 
 
 6 30 p.m. 
 
 *9 10 p.m. 
 
 Murnau— M unich. 
 
 Arrive Munich. 
 7 40 a.m. 
 2 15 p.m. 
 6 40 p.m. 
 
 10 5 p.m. 
 
 11 25 p.m. 
 
 The last * is a special train, and runs only 
 on the days of the performance. The other 
 trains daily. 
 
 Omnibuses, stages, &c., leave Ober- 
 Ammergau immediately after the perform- 
 ance, and reach Murnau in time for the * 
 train. 
 
 Fares — Munich-Murnau : First class, 6.15 Mks. ; second class, 4.10 Mks. ; third 
 class, 2, 60 Mks. Return tickets (good for three days) : First class, none ; second class, 
 6.15 Mks. ; third class, 4.10 Mks. Post Omnibus, Murnau to Ober-Ammergau, 2.60 Mks. 
 Prices for other vehicles vary according to demand. Carriages from Munich to Ober- 
 Ammergau, and back to Munich, for one to six persons : four day's trip, 120 Mks. ; five 
 days, 140 Mks. ; six days, 160 Mks. 
 
 For private carriages apply to Johann Kratzer, 7, Frauen PL, Munich. 
 For excursion tickets apply to Alois Mossl, ii, Neuhauser St., Munich. 
 For EngHsh books, &c., apply to B. Wahnschaffe, 8, Brienner St., Munich. 
 
 U.S. 
 
 Consulate, Munich, 
 Afay, 1880. 
 
THE PILGRIMAGE. 
 
 HE attention of the Christian world is again drawn to the 
 remarkable drama of the Passion, performed by the villagers 
 of Ober-Ammergau, in the highlands of Bavaria. Tradition 
 sa)S that the celebrated religious play, which is now given 
 every tenth year, dates as far back as 1634, being now performed in fulfilment 
 of a solemn vow made then to God by the villagers. The tradition is as fol- 
 lows: — In the year 1633 a fearful pestilence broke out in the neighbouring 
 villages ; so fearful, indeed, it was thought everybody would die. In Kohl- 
 grub, distant three hours' journey from Ammergau, so great were the ravages 
 made by the disease, that only two married couples were left in the village. 
 Notwithstanding the strict measures taken by the people of Ammergau to 
 prevent the plague being introduced into their village, a day labourer, named 
 Caspar Schuchler, who had been working at Eschenlohe, where the plague 
 prevailed, succeeded in entering the village, where he wished to visit his wife 
 and children. In a day or two he was a corpse : he had brought with him 
 the germs of the disease, which spread with such fearful rapidity that, within 
 the following thirty-three days, eighty-four persons belonging to the village 
 died. Then the villagers, in their sad trial, assembled, and solemnly vowed 
 that, if God would take away the pestilence, they would perform the Passion 
 Tragedy in thanksgiving every tenth year. From that time on, although a 
 number of persons were suffering, not one more died of the plague. In 1634 
 the play was first performed. The decadal period was chosen for 1680, and 
 the Passion Play has been enacted every tenth year, with various interruptions, 
 since that time. 
 
 Such is the current tradition. The Passion Play is, however, of much 
 older date than this. It is not probable that simple villagers would make 
 a vow to perform a play totally unknown to them, and, even in its rudest 
 form, demanding such capacity and preparatory study. The vow speaks of 
 the Passion Tragedy as something well known ; only the period of performing 
 
2 THE PASSION PLAY. 
 
 the play every ten years is positively stated. The oldest known text-book 
 of the play bears the date 1662, and it refers to a still older book. Since the 
 year 1634 the Passion Play has undergone great changes and improvements. 
 Such figures as Lucifer, Prince of Hell, who, with his retinue, used to play a 
 great part in the Ammergau performance, have been banished. The devil 
 was formerly a constant actor upon the stage; for instance, he used to dance 
 about Judas during the course of the latter's temptation, and when the be- 
 trayer hanged himself, a host of satanic imps would rush upon the suicide, and 
 tear open his bowels, to find a good meal of very palatable sausages or other 
 savoury material. Up to the year 1830 the play was performed in the village 
 churchyard, in the open air. In the first decades of the present century the 
 text of the Play was thoroughly revised by Father Ottmar Weiss, of Jesewang, 
 ex-conventual of the Benedictine Monastery at Ettal (died 1843), who re- 
 moved unsuitable and inharmonious passages, substituting prose for doggrel 
 verse. The improvements then commenced have been carried on up to the 
 present time by the former pastor of the village, the Geistlicher-Rath Daisen- 
 berger, who is still active in promoting the success of the play. 
 
 The last performances of the Passion Play were given in the year 1871. 
 The performances of 1870 (the decadal year) had been suddenly interrupted 
 by the breaking-out of the Franco-German war, when the Passion Theatre 
 had to be closed long before the stipulated term, and the visitors were scat- 
 tered like chaff to the four winds. Forty of the men and youth of Ammer- 
 gau, among them several who had taken part in the play, were called into 
 the ranks of the Bavarian army. Joseph Maier, the delineator of the person 
 of Christ in 1870, was among the number of those who had to perform mili- 
 tary duty, though it fortunately happened that the King of Bavaria, Ludwig II., 
 who had ever manifested a deep interest in the Passion Play, interfered in his 
 favour, commanding that, instead of doing active service in the field, he should 
 be allowed to fulfil his duties in the Munich garrison. None of the other 
 principal players were called to the ranks. Of the forty who left the village 
 in 1870 for the war, six never returned from France: of these, two fell in 
 battle and four died in the hospitals. Alois Lang, one of the six victims of 
 the war, had undertaken, before he left his native village, the part of Simon 
 of Cyrene. When the news of peace between Germany and France arrived 
 in the Bavarian Highlands, and fires of joy were lighted on every mountain- 
 top, from the Odenwald to the Tyrol, the good villagers of Ober-Ammergau 
 met together, for the purpose of joining in the general expression of triumph 
 and exultation. " With the permission of our gracious sovereign," they said, 
 "we will give a repetition of our Passion Play. This shall be our method of 
 thanking God, who has bestowed upon us the blessings of victory and peace !" 
 
 The invitation to attend the performances found acceptance far beyond 
 the borders of Germany. The fame of the play of 1870 had spread into all 
 Christian lands ; and when it was known that the performances would be 
 repeated in 1871, Ammergau became the goal towards which the great body 
 of tourists directed their steps. The journey was then, as it is in the present 
 year, for many a true Passion pilgrimage. The village of Ober-Ammergau is 
 
THE PILGRIMAGE. 3 
 
 far removed from the noise of the great world, and a long day's journey, 
 attended with no little exertion, has to be made from Munich before it is 
 reached. Leaving the Bavarian capital, the traveller has the choice of 
 several routes. One of these is by the railroad to Starnberg, and along the 
 shores of the lake of the same name to Murnau. A four hours' drive from 
 this place in a carriage or omnibus completes the journey to the village. 
 Those who prefer crossing the beautiful Lake Starnberg can take the steamer 
 from Starnberg to Seeshaupt, and thence by conveyance to Ammergau. In 
 the journey by railroad, every mile possesses interest to the tourist. There 
 is a wealth of legendary lore stored among the peasant populations through 
 which the road passes. Planegg, a few stations distant from the Bavarian 
 capital, is celebrated as a place of pilgrimage, the great object of attraction 
 being the Virgin's Oak, with its image of the Madonna, of wide-spread 
 miraculous reputation. In the Miihlthal, the tradition of the birth of 
 Charlemagne lends an historical interest to the neighbourhood. At a short 
 distance further the first glimpse of Lake Starnberg is obtained. It is a 
 beautiful, placid sheet of water, speckled with the white sails of yachts, and 
 ploughed occasionally by a steamer from the little town of Starnberg, 
 across its whole length to the many charming villages that dot its shores. 
 It is a pleasant sail across the blue waters, past idyllic villas and mansions, 
 among which Schloss Berg, one of the favourite residences of Ludwig II., is 
 conspicuous ; past the Garden of Roses, one of the many artificial paradises 
 which the romantic monarch has created in or near his residences ; past 
 Leoni, a place hallowed by artistic memories ; past the legendary St. Heinrich, 
 until the bell announces that Seeshaupt is reached. "Beautiful Starnberg !" 
 are the words that escape the traveller's lips as he first catches a glimpse of 
 the lake ; and " Beautiful Starnberg ! " when he bids it adieu for the more 
 romantic pleasures of the beckoning snow-crowned mountains. The shores 
 of the lake are a paradise which the Munich artists well know how to enjoy, 
 and where they celebrate many of their annual festivals, for which the 
 Oerman artists are justly celebrated. Characteristic of the fruitful scene were 
 the words of the hordes of Attila, who, when they overran Bavaria, shouted, 
 '"' To Bayern ! To Bayern ! There dwells the Lord God himself ! " 
 
 Between the lake, where we have so long tarried, and the Bavarian 
 Highlands, there lies a broad plain of several miles in extent. Those tourists 
 who prefer the overland transit, proceed by train either to Murnau or to 
 Sulz, at the foot of a mountain called the High Peissenberg, which has merited 
 the name of the Bavarian Righi. But of late years it seems to possess less 
 attractions for the traveller than it formerly did. The greater number 
 of Passion pilgrims keep the rails as far as Murnau. If we may believe 
 tradition, the little town was originally named, with the valley which it over- 
 looks, Wurmau, i.e. the Valley of the Dragon. Murnau had a Passion Play 
 in earlier times. A charming lake, the Staffelsee, lies near the village. 
 Crowning one of the islands is a small Kapelle which tradition says was 
 consecrated by Saint Boniface, the great apostle of the Germans. After 
 leaving Murnau, we pass on our way to Ammergau through the valley 
 
 B 
 
4 THE PASSION PLAY. 
 
 of the Loisach. The road passes between shady rows of trees ; beside uSy. 
 the Httle river glides smoothly along, unencumbered in summer, but in winter 
 destined to carry down from the mountains its burden of floats. Rising' 
 majestically in front, are the high peaks of the mountains, crowned with snow- 
 up to late in the summer. To the right is the Etaller range, with the Etaller- 
 Mandl, over five thousand feet, and to the left the Herzogenstand and the 
 Krottenkopf, about six thousand feet high ; while directly in front, apparently 
 barring the end of the gorge, is the Zugspitze, near Garmisch, with a height 
 of nearly ten thousand feet. At length the traveller's path itself is closed in- 
 by the lofty ranges on either side, so that space is scarcely left between the 
 mountain and the opposite mass of precipitous rocks, for the two slender lines^ 
 of road and river. During the Passion season the road is animated, one or 
 even two days before the performance, by the numbers of conveyances and 
 by the picturesque groups of foot-passengers. With what resoluteness of 
 purpose, and with what devotion of spirit do many of these poor peasants^ 
 undertake the journey ! See them, long before their destination is reached, 
 climb up the sides of the little mount near Eschenlohe, in order to join the 
 groups of the devout, who never cease to invoke the Madonna, in the beautiful 
 " Gnadenkapelle," or chapel of grace, which crowns its summit. Sanctuaries^ 
 of this kind, containing an image of the Virgin, of miraculous fame, seem to 
 have been planted on every knoll of the valley. A reader of Uhland would 
 not be able to pass beneath these chapel-crowned mounts without repeating 
 the beautiful verses of that poet entitled: "Die Kapelle." Let him substi- 
 tute the cow-boy or the goat-herd boy of the Loisach valley for the shepherd- 
 boy of Suabia, and the picture is complete : — 
 
 On the height the chapel clinging, reigning o'er a vale of joy, 
 
 Down 'mid brook and meadow singing, loud and glad the shepherd boy ! 
 
 Sadly sounds the bells' deep tolling ; full of dread the burial lay : 
 Now no more his glad song trolling, looks the youngling in dismay. 
 
 Up there to the grave they're bringing, those who dwelt down in the vale : 
 Soon, boy shepherd, they'll be singing, for thee there, thy funeral wail ! 
 
 How fortunate is it, that the great Etaller Berg has been placed betweena 
 the highway leading from Murnau to Partenkirchen, the valley of the 
 Ammer and the village of Ober-Ammergau. For to this barrier we are 
 indebted for one circumstance of inestimable value. The actors of the Passion^ 
 Play, cut off by their geographical position from communication with the 
 outer world, have escaped its contaminating influences ; and are able, after 
 the lapse of so many decades, to exhibit their sacred drama in more than its 
 original purity. When the tourist comes to the little village of Oberau, he 
 finds that the distinction of persons ceases for a while ; rich and poor have to 
 struggle with the steepness of Mount Ettal for over half-an-hour, while a pair 
 of the best horses are tugging hard to draw up the empty carriage. Half- 
 way up the steep hill the tourist is struck by one of those votive tablets, so- 
 common in these parts. It tells the story of Alois Pfausler, who here met a 
 
THE MONASTERY QF ETTAL. 
 
THE PILGRIMAGE, 5 
 
 sudden death from apoplexy in July, 1 866, brought on by his over-exertion 
 in climbing the hill. A little further on, to the right, some wooden steps lead 
 to a sanctuary of the Madonna, where the devout spend a few moments in 
 rest and prayer. Nearly at the top of the hill is a monument, made of granite, 
 erected to the memory of F. X. Hauser, master stone-mason of Munich, and 
 his foreman Jos. Kofelens, who were both killed by the falling of the statue 
 of St. John on its transport to Ober-Ammergau, where it forms part of the 
 " Krenzignosgsgruppe." The good people of the neighbourhood firmly believe 
 'n the old proverb, current in the Ammer valley, that " the way to the repre- 
 sentation of the Passion Play should be a way of penance." 
 
 But the toil once surmounted, and the summit reached, the pilgrim stands 
 in full view of a surprising scene of beauty, which marks the entrance to 
 the Ammerthal. Here the ancient Benedictine Monastery of Ettal nestles 
 beneath the Ettaler-Mandl, whose peak is discernible even at Murnau. Ettal 
 is the guardian of the valley through which Ober-Ammergau is reached. 
 The monastery, as such, is no more, and the monks who once inhabited it 
 have long since departed to their eternal rest. Ettal is one of the many 
 wonderful sites noted for incomparable beauty, which the sons of Saint Bene- 
 dict were wont to select for their abode. Devrient was one of the first to 
 assert that the Ammergau Passion Play came originally from Ettal. But the 
 aged priest of Ober-Ammergau, Geistlicher Rath Daisenberger, editor of the 
 Passion Play in its present form, is of a contrary opinion. His arguments, 
 however, do not seem conclusive. He says, truly, that at the time of the 
 great pestilence (1633) Ober-Ammergau stood under the pastoral charge of 
 the monastery of Rothenbuch, five or six leagues distant from the place, but 
 not in the same direction as Ettal. The prelates of that monastery were 
 feudal lords of the valley, and exercised secular jurisdiction in the neighbour- 
 hood, but at first they had no influence in spiritual matters. Even Daisen- 
 berger admits, however, that the monks of Ettal may have aided the villagers 
 in carrying out their vow. Dr. Holland is of the opinion that the Passion 
 Play was introduced into Ammergau simultaneously with the craft of wood- 
 carving. For both acquisitions, he thinks, they were indebted to the monks 
 of Rothenbuch. The date which he gives is the twelfth century. And, 
 indeed, as to the supposition that the Passion Play dates from the pestilence 
 of 1 633, we have already hinted that it is totally unfounded. Leaving, however, 
 to Rothenbuch the credit of having first prepared the text and introduced the 
 religious drama into Ober-Ammergau, it is probable that as soon as the 
 monastery of Ettal was established, the latter took the immediate guidance 
 of any existing dramatic elements into their own hands. That both the 
 monks of Rothenbuch and of Ettal had religious plays cannot be controverted; 
 for in 1803, when the property of th^ suppressed Bavarian monasteries was 
 put up at auction, costumes used in the religious plays were sold, and the 
 community of Ober-Ammergau purchased from Ettal a number of dresses, 
 some of which they still turn to use. 
 
 Ever since its foundation Ettal has been, like Alt Oetting and Berg 
 Andechs in Bavaria, and like Maria Einsiedeln in Switzerland, a noted place 
 
6 THE PASSION PLAY. 
 
 of pilgrimage, to which thousands upon thousands repair, not only from the 
 surrounding country, but even from more remote districts, in order to perform 
 their devotions before the shrine of the Madonna of miraculous fame. This 
 statue was guarded by the monks from the infancy of their institute, and all 
 along during the time of their prosperity ; and it is still faithfully preserved 
 by the curates, who have succeeded to their functions. Ettal is, indeed, so 
 closely connected with Ammergau in life and religion, that a glimpse of its 
 history belongs to any account of the Passion Play. Besides their principal 
 drama, the villagers of Ober- Ammergau have a secular play, which they fre- 
 quently perform, entitled *' The Founding of the Monastery of Ettal," written 
 by the Geistlicher Rath Daisenberger. The German Emperor, Ludwig the 
 Bavarian, after having been crowned in Rome, found himself suddenly attacked 
 near Milan. While in the monastery of Saint Victor, imploring aid in his 
 distress, a monk appeared, and placing in his hands a beautiful image of the 
 Virgin, promised him the divine blessing if he would pledge himself, on 
 arriving in the valley of the Ammer, to found a Benedictine monastery, and 
 place in it the image for public veneration. This he promised, and fulfilled 
 after he had escaped from his enemies. Tradition says that the emperor 
 rode his horse up the same steep Ettaler Berg, which the pilgrim now ascends 
 with so much toil : but no sooner had he gained the upper part, than the 
 animal fell three times in succession upon its knees, unable to carry the im- 
 perial weight which it bore any further. The emperor interpreted this 
 incident as a sign from heaven, which it was not permitted to neglect, and 
 here, at the entrance of the valley where he had received such a marked 
 intimation of the divine will, he determined that his vow should be put into 
 execution. Accordingly he ordered a small chapel to be hastily constructed; 
 and, in the year 1330, he made the journey from Munich in order to lay the 
 foundation stone of the monastery of Ettal. 
 
 Having once laid the foundation stone, Ludwig continued to take great 
 interest in the prosperity of his own creation. And, indeed, " under the pro- 
 tection of the Queen of Heaven," whom he regarded as the principal foundress, 
 it soon began to flourish. But the edifice which the emperor erected was not 
 to be a mere dwelling-place for monks : it was also to serve as a retreat for 
 incapacitated knights and warriors, who would have no other duty but to guard 
 the image of the Madonna, who had in a wonderful manner brought him aid 
 in the time of distress. W^e see that a bright image, that of the Holy Grail, 
 which in the history of Christian poetry has something of a universal character, 
 had made a lively impression upon his mind. It was a Grail Temple — this 
 foundation of Ludwig the Bavarian. His father, Ludwig the Austere, had 
 manifested a disposition favourable to the ideal side of literature. It was at 
 his command that the epic poem of " Titurel," which, however, remained in 
 an imperfect state, had been composed by Wolfram of Eschenbach. Among 
 the fine passages which this production contains, there is a grand description 
 of the Holy Grail, and of the Castle of Monsalvat, the legendary home of 
 Parcival and Lohengrin. What the latter had caused to spring up in the 
 shape of fiction, the former determined to realize as one of the institutions of 
 
THE PILGRIMAGE. 7 
 
 his kingdom. For this purpose he created, as we may interpret his notion, 
 a clerical order of knighthood. Ettal was his Monsalvat, and the monks were 
 the knights of the Grail. The palladium of which the monks became the 
 depositaries, was not the Holy Grail, but the cherished statue, which had 
 brought the emperor unexpected relief, in the Chapel of the Madonna, near 
 Milan. Towards the end of his life, after his unhappy rupture with the 
 occupant of the papal chair, the emperor, depressed in spirit by the anathema 
 which he had incurred, seems to have taken a melancholy pleasure in spending 
 much of his time in his barge on a neighbouring lake, called the Plansee. 
 There, giving full scope to his romantic turn of mind, he might perchance 
 imagine, that he was acting an episode out of Wolfram's " Parcival," that he 
 was himself the benighted king whose wounds were incurable, that like another 
 Anfortas on the waters of the Brumbane, while he could not live, he was 
 nevertheless doomed not to die. Ettal, as it now stands, bears few traces ot 
 the original plan, both church and monastery having been subsequently 
 destroyed by fire and lightning. Yet by comparing actual remains with 
 descriptions of the original structure, as given by eye-witnesses, we gain 
 sufficient evidence that there was a great resemblance between the stone 
 architecture of Ludwig the Bavarian and the lofty rhyme built up by Wolfram, 
 which served as a model. Substituting, as we have already done, the image 
 of the Virgin for the vessel of the Holy Grail, we might almost believe that 
 Wagner had the abbey of Ettal in view when he made the description of the 
 legendary home of Lohengrin : — 
 
 In distant land, where ye can never enter, A precious vessel, of miraculous power, 
 
 A castle stands, the Monsalvat its name ! A shrine most holy, guarded well, doth 
 
 A radiant temple riseth in the centre, stand ; 
 
 More beauteous 'tis than aught of earthly That none but mortals purest guard this 
 fame ! dower, 
 
 'Twas brought to earth by an angelic 
 hand ! 
 
 In 1 744 the abbey, the church, and the library were laid in ashes by a 
 single stroke of lightning ; and nearly all the treasures were destroyed. The 
 prior, however, succeeded in rescuing the statue at the risk of his own life. 
 After 1 744 the church was restored. In 1 803 Ettal was involved in the common 
 ruin of all monastic corporations in Bavaria, and its inmates wandered to 
 other homes and distant lands. Ettal is now noted, besides its Madonna, for 
 its beautiful organ and its beer. The fresco paintings on the roof of the 
 church, by Jacob Zeiller, of Reutte, and those in the spaces above the altars, 
 by Martin Knoller, an artist from the Tyrol, still attract the attention of the 
 tourist. In association with the Madonna and the organ, they are the only 
 relics which Ettal still preserves of its pristine splendour, and of the treasures 
 which were gathered within its walls during the four hundred years of its 
 prosperity. Attempts have been made at times to induce the government to 
 rebuild the monastery as a college, and the late King Maximilian showed a 
 willingness to enter into such a project. He even caused some preparations to 
 be made towards its realization: but after his death they were suffered to fall. 
 
8 
 
 THE PASSION PLAY. 
 
 Leaving the portal and the precincts of the church at Ettal and the 
 whole of this elevated region, and entering the lovely valley of the Ammer, 
 the pilgrim can well appreciate the sentiments of good old Ethiko, — in the 
 drama of the " Founding of Ettal," — as he leaves his solitary cell in the early 
 spring-time, and blesses God for all the goodness he has spent in such wealth 
 in the valley, and can join with the players of Ober-Ammergau in singing 
 the closing words thereof (by the Geistlicher Rath Daisenberger) : — 
 
 Let God be praised! He hath this vale 
 created, 
 To show to man the glory of His name ! 
 And these wide hills the Lord hath conse- 
 crated, 
 Where He His love incessant may pro- 
 claim ! 
 
 In this close valley, from the world di- 
 vided, 
 Where rock and pine point upward to 
 the sky, 
 By fervent prayer, man's soul to God is 
 guided. 
 Whom in His works he strives to glorify. 
 
 From out these aisles will flow Maria's 
 blessing, 
 Far through the vales of this our Father- 
 land ! 
 I see, in spirit, thousands onward pressing. 
 As one in faith, a pious pilgrim band. 
 
 On holy ground, in worship humbly kneel- 
 ing, 
 The soul by hope stirr'd deeply, and by 
 love, 
 I see the poor, life's sorest troubles feeling, 
 Forget their ills in comfort from above ! 
 
 And 
 
 see. 
 
 for 
 
 grace are 
 
 happy ones, 
 pleading. 
 
 And off'rings pleasing unto God they 
 bring ; 
 
 And princes, too, the voice of warning 
 heeding, 
 In meekness bend before their Lord and 
 King. 
 
 And youths who have from distant lands 
 departed, 
 Assemble here — for wisdom's fount 
 athirst ; 
 For in these halls shall comfort be im- 
 parted. 
 Maternally, the sacred wisdom nursed ! 
 
 And when in course of time, as man's 
 creation, 
 Good Lud wig's house a shatter 'd ruin 
 lies; 
 Its memory be kept aye in veneration, 
 Until, renew'd, it may once more arise ! 
 
 Ne'er shall decay the valley's greatest 
 treasure. 
 Madonna — thou — the pledge of Heaven's 
 grace ! 
 Her blessings will the Queen of Heaven 
 outmeasure 
 To her quiet Ettal and Bavaria's race ! 
 
 O Mother, stay with us, — thy love un- 
 swerving, — 
 Reign over us, maternally, sublime ! 
 To Bayern's people, princes, too, pre- 
 serving, 
 Good Heaven's grace throughout the 
 course of time ! 
 
 An hour's walk through the delightful valley, along the banks of the 
 mountain stream from which it derives its name, leads the tourist to the village 
 of Ober-Ammergau. Two rows of mountain ash, hung with clusters of rich 
 red berries, mark the line of the valley-road during its whole extent, until we 
 come to the place of destination. Here our attention is forcibly drawn to the 
 bold and curiously formed peak of the Kofel, crowned with a large cross. It 
 rises immediately in front of the village, and the latter Hes nestling below it. 
 The first object, which a turn in the road reveals to the eye of the pilgrim, is 
 the village church with its peculiar dome, not unlike that of a Turkish 
 mosque. Just before entering the village, on a prominent point of the valley 
 
MARBLE GROUP OF THE CRUCIFIXION. 
 
 Presented to the community of Ober-Ammeigau, by King Ludwig II. of Bavaria, in com- 
 memoration of His Majesty's vibit to Ober-Ammergau to witness the Passion Play in 1871, 
 and his appreciation of the earnest labours of the villagers in the performance of the vow 
 made by their forefathers in the year 1633. 
 
THE PILGRIMAGE. 9 
 
 as a marble group representing a scene of the Crucifixion, — Christ nailed to 
 the Cross and the Virgin and John standing at the foot, at the moment when 
 the Redeemer says to His mother : " Woman, behold thy son ! " and to the 
 disciple, " Behold, thy mother ! " This is the gift of King Ludwig to the 
 -villagers of Ober-Ammergau, in commemoration of the performances of 
 1871. The work is by Halbig, of Munich. A more appropriate monument for 
 the lovely valley of the Ammer could not have been chosen. 
 
 Ober-Ammergau has the reputation of being one of the cleanest villages in 
 the Bavarian Highlands. The sparkling Ammer rushing along the streets, 
 the deep shadows of the lofty Kofel, and those of the high ranges all around, 
 render it one of the most picturesque of situations. The peak of the Kofel, 
 with its cross, is the presiding genius of the place. Long before the sun 
 sends his rays down into the valley, the high cross is radiant with golden 
 light, and when the orb of day sinks to rest, it reflects the last faint glow of 
 his vanishing light. It once happened that, either in jest or earnest, a pro- 
 posal was made to the Ammergauers to take their Passion Play to England or 
 America. " Willingly will we do so," was the reply, " but we must take with 
 us the whole village, and its guardian spirit, the Kofel." So vivid is the im- 
 .pression which this venerable peak has engraved on their minds. 
 
 VILLAGE AND PEOPLE. 
 
 'HE great object of interest connected with Ammergau is unques- 
 tionably the Passion Play. But as it is impossible fully to 
 understand and appreciate the nature of such a performance 
 without becoming in some way acquainted with the performers, 
 we shall be justified in casting a glance at their manners and customs, and at 
 their preparations for the labours they religiously undertake. Many influences 
 have been at work to produce the marvellous peasant-players of Ammergau. 
 The first of these is the ceremonial life of the church, and in close con- 
 nection with this the skill of the villagers in wood-carving. All the more 
 intelligent and better educated members of the community are wood-carvers ; 
 and the subjects which they execute by preference are of the religious kind — 
 crucifixes, madonnas, images of saints, and church ornaments. The influence 
 exercised by wood-carving upon the villagers is seen in the improvement ot 
 taste, and in the preparation of the people for the part of the figures they act 
 on the stage. They have gradually acquired a feeling for correctness of form 
 and fitness of pose. What they cut out in wood, they represented on the 
 stage. Many of these workmen deserve the name of artists. The past 
 generation had not the advantage of an artistic training. Some of the old 
 men belonging to this period who still survive, are unable to draw on paper 
 the subjects which they carry out with much delicacy in wood, and the 
 'Characteristic style of productions is more traditional than learned. 
 
10 THE PASSION PLAY. 
 
 Happily, the Bavarian government has endeavoured to aid the villagers ire 
 their aspirations, and to facilitate their progress in these artistic pursuits. 
 The School of Design and Carving which is established in the neighbouring 
 town of Partenkirchen, receives an annual subvention from the State. The 
 Ammergau School of Design, situated in the village itself, is well attended ; 
 and the inhabitants do not shrink from sacrifices in order to support it. The 
 best players of the village are, almost without exception, wood-carvers, and 
 this in the higher branches. The three men who have represented 
 " Christus" since the beginning of 1850, Flunger, Schauer, and Maier, were 
 all distinguished in this profession. Of these, the first devoted his skill chiefly 
 to madonnas, and the two others to crucifixes. Besides their principal em- 
 ployment, Flunger dedicates some of his spare hours to animal carving, and 
 Maier a portion of his leisure to flowers and picture-frames. Jacob Hett, 
 the " Petrus " of 1870, is a carver of small crucifixes. Lechner, the admirable 
 personator of Judas, is one of the most skilful carvers of the village, as he 
 is one of the very first of the actors. The peasants, or agricultural labourers,, 
 are not fitted for the higher characters. They help to fill out the subordinate 
 positions, and form capital material for Roman soldiers or for the populace, 
 and render good assistance in the mechanical labours of the stage. Hence, 
 we see how erroneous it would be to suppose that mere peasants could perform 
 the Passion Play with anything like the fidelity and art of the people of Ober- 
 Ammergau. 
 
 The great training school for the Passion Play has been all along the 
 village church, with its purely Catholic ceremonies, its processions, its music 
 and song. The principal festivals, such as the Resurrection and the Ascen- 
 sion, are represented in part dramatically in the Ammergau church. The 
 scenes differ in nothing from the corresponding ones in the Passion Play,, 
 except that the figures are not endowed with life. The one is simply a pic- 
 ture or tableau ; the other is a tableau vivant. In a hundred ways, indeed,, 
 the village church is a preparatory school for the Ammergau drama. The 
 great processions and the harmonious working together of masses of people 
 on the Ammergau stage have excited the admiration even of skilled dramatists. 
 Especially does the opening scene of the play, representing Christ's triumphal 
 entry into Jerusalem, when almost five hundred persons — men, women, and 
 little children — -join in the pageant, strike the spectator with amazement. 
 No amount of mere theatrical drilling could have produced such harmony 
 and perfection. In fact, there is only one explanation. All the inhabitants, 
 including the children, have had the opportunity of doing the same thing^ 
 several times in the year, sometimes within, and sometimes beyond, the 
 limits of the church. Among the principal occasions when such processions 
 take place, we may mention Palm Sunday, Corpus Christi, and a day devoted 
 to thanksgiving, when mass is celebrated at Ettal. The dramatic scene in the 
 Passion Play, of Christ's " Triumphal Entry into Jerusalem," is for the most 
 part a repetition of the church procession on Palm Sunday, even to the singing 
 of the beautiful choral, "All hail! all hail, O David's Son!" The music 
 and singing heard in the Passion Theatre may also be heard in part in the 
 
VILLAGE AND PEOPLE. u 
 
 village church, since Dedler, when composing the music for the Passion Play, 
 embodied in his work parts of the masses which he had previously written for 
 Sundays and festivals following the ecclesiastical calendar. Indeed, the village 
 church is the rehearsal theatre for many scenes of the Passion Play, or, better 
 expressed, the people dramatically display on the Passion stage very much 
 of what they have imbibed in the church. 
 
 The village school likewise follows the same spirit as the other chief 
 institution of the place, the preceptor acting in subordination to the priest, 
 who is the inspector. One of the necessary qualifications demanded of a 
 school-teacher at Ammergau is that he shall be a musician, and, if possible, 
 a composer. Herr Kirchenhofer, who held that office in 1871, wrote several 
 masses for the village church. The children are very easily taught the 
 elements of music ; and they have to learn by heart and to sing passages 
 from the drama which makes the glory of the community. They are also 
 exercised in declaiming parts of the Passion drama. As the children develop, 
 the more musical of the boys gain in time a position in the church orchestra ; 
 the girls may become singers in the choir. Later, the more talented may 
 have parts given them for performance in the rehearsal theatre of Ammergau, 
 an institution which comes into requisition during the nine years of interval 
 between the play years, and more especially in the winter preceding the 
 performance of the Passionsspiel. When the public theatre is taken down at 
 the end of the great decennial season, the stage itself is suffered to remain ; 
 and preparations are made for a number of other dramatic subjects, partly 
 secular, partly religious, which the villagers perform. These minor plays, 
 exhibited before lesser audiences, were formerly given in a large room, or in 
 a building styled the Rehearsal Theatre, which was sold in 1869. Some ot 
 these compositions are by the pen of the Geistlicher Rath Daisenberger, 
 while others are adaptations by him from known German authors. They are 
 acted with great force on the Ammergau boards, and excite the admiration 
 of the whole neighbourhood, visitors coming from some of the more distant 
 towns. 
 
 These plays are for the inhabitants instead of pearls and gems. They 
 contemplate them with pride, and store them up in their memory. In par- 
 ticular, they never tire in speaking of Daisenberger's masterpiece, " The 
 Founding of the Monastery of Ettal," with which the reader has already been 
 made acquainted. Of the other original dramatic compositions of this author, 
 which have been brought out on the Ammergau rehearsal stage, we may 
 mention his " Saint Genoveva," " Saint Agatha," " Absalon," " Otto von Wit- 
 telsbach at the Veronese Hermitage." The following pieces, of a secular 
 character, he has simply accommodated, or adapted, and admitted to the 
 village boards : " Otto von Wittelsbach," " William Tell," Schleich's comedy, 
 " The Last Witch," and " Burgher and Junker," and the " Karfunkel," by 
 Count Pocci. A " Christmas Play " was performed at Ober-Ammergau some 
 years ago, and attended by hundreds of peasants from the surrounding 
 districts. In all these plays music and song take a prominent place. In 
 ordinary times, especially in winter, there is a performance every week. 
 
12 
 
 THE PASSION PLAY, 
 
 Superintending these performances, the Geistlicher-Rath Daisenberger has 
 directed the villagers. For over thirty-five years, from his first coming to 
 the village, he has devoted his whole life to the education of his flock. His 
 whole existence is so completely interwoven with that of his former pa- 
 rishioners, that we must attribute their progress, particularly in the dramatic 
 line, mainly to him. We cannot, therefore, forbear adding a few particulars 
 from the personal history af this remarkable priest. Whoever has seen the aged 
 man of God, with his countenance so expressive of benevolence to us all, 
 whether Protestants or Catholics, will recognize his image in the description 
 which Victor SchefFel makes of a rural priest in the Schwarzwald, though the 
 framework is that of a long past century : — 
 
 Plain his life is — where the village 
 Bound'ry ceases, there the limits 
 Were to his religious labours. 
 Way back in the thirty war-years 
 People thought to do God honour 
 When they smashed a brother's skull in. 
 But to him the dark'ning pine-trees 
 Long ago brought peace of conscience ; 
 Cobwebs hung about his book-case, 
 And 'twas doubtful if among the 
 Mass of controversial writings 
 E'er a one he read or studied ! 
 Altogether, with dogmatics 
 And the arms of heavy knowledge 
 Rarely was his conscience troubled ; 
 But where'er among his flock a 
 Quarrel still remained unsettled ; 
 Where the neighbours' rude dissension 
 And the demon Discord, troubled 
 Wedded life and love of children, — 
 Where the day's great want and mis'ry, 
 Heavily the poor oppressed, 
 
 And the needy spirit longed for 
 Words of hope and consolation, — 
 There, as messenger of peace, the 
 Aged pastor's form ne'er failed. 
 Had for all, advice and comfort 
 From his great heart's deepest treasures ; 
 And M^hen in the furthest cottage 
 One lay on the bed of sickness. 
 Struggling hard with Death, the bitter ; 
 Then at midnight, or at any 
 Hour when his aid was needed — 
 Mattered not for storm and winter — 
 Straight he went unto the sick one, 
 Giving him the parting blessing. 
 Lonely on through life he wandered 
 And his richest, great reward was 
 When a modest child approaching, 
 Shyly kissed his hand, in greeting : 
 Often, too, a thankful smile was 
 Resting on the lips that spake not — 
 This was for the aged pastor ! 
 
 Trompeter von Saekkmgen. 
 
 Daisenberger is the son of a peasant of Oberau, and is now eighty-two 
 years of age. He spent his youth in the monastery of Ettal, with Othmar 
 Weiss, who was his forerunner in the revisal of the Passion Play, accommo- 
 dating it to modern forms and demands. When he himself saw the acting 
 for the first time, it was in company with his friend Othmar. Even at this 
 early period, his love of music and the religious drama led him to cTierish a 
 hope that Ober-Ammergau was the station to which his ecclesiastical superior 
 would one day appoint him. He had the satisfaction of seeing his wishes 
 accomplished. In 1845 the community demanded him by acclamation for 
 their spiritual shepherd. Under his direction, the drama was performed in 
 1850, when the part of " Christus " was taken by Tobias Flunger. The 
 eminent success which he achieved on that occasion, as Devrient has reported 
 with the warmth of admiration, encouraged him to make still further efforts, 
 in order to elevate the character both of the play and the players. The cele- 
 brated actor Lehmann, of Hanover, attended one of the performances of that 
 
THE "GEISTLICHER RATH" DAISENBERGER. 
 
 THE REVISER OF THE MODERN VERSION OF THE PASSION PLAY. 
 
VILLAGE AND PEOPLE. 13 
 
 year, and was so struck with the way in which the drama had been put on the 
 boards, that he asked to be introduced to the manager. How great was his 
 surprise, when he was brought into the presence of the young priest ! 
 
 " I undertook the labour," says Daisenberger, " with the best will, for the 
 love of my Divine Redeemer, and with only one object in view, namely, the 
 edification of the Christian world." The author of the " Album of the Passion 
 Play" says: "In addition to his literary efforts Daisenberger undertook the 
 important charge of educating his parishioners up to the level of their dra- 
 matic vocation. In his capacity as pastor of the flock, he undertook the 
 direction and arrangement of the dramatic representations, leaving to the 
 churchwarden, George Zwink, the arrangement of the tableaux, and to the 
 schoolmaster, George Schauer, the direction of the music and the rehearsals. 
 In training the community for their arduous and honourable task, the follow- 
 ing order was observed. The committee distributed to the players their 
 separate parts. Next came rehearsals for individual actors. In the evening 
 the Pfarrer invited a certain number to his dwelling, where they had first to 
 read their parts in a clear voice, and afterwards to recite them from memory. 
 All the more prominent actors had private lessons, and special attention was 
 paid to those who had to perform the most important functions on the stage. 
 It was scarcely probable that so elaborate a preparation could issue in a 
 failure. The great reputation which Ammergau now enjoys may be said to 
 date from the year 1850. Visitors who witnessed the wonderful success of 
 the Christus of that year, Tobias Flunger, and (as far as the inferior part of 
 Judas permitted) the equally distinguished acting of Gregor Lechner, still 
 speak of what they then beheld with unabated enthusiasm ; and the report 
 of Edward Devrient will ever remain a standing monument of that memorable 
 year. Ever since that period the Passion Play has enjoyed uninterrupted 
 prosperity." 
 
 A quarter of a century ago the Geistlicher Rath gave a revision of the 
 text of the Passion Play at the instigation of King Ludwig I. For the benefit 
 of his flock he wrote a history of the village. He has published a volume of 
 sermons, entitled " The Fruits of Observations on the Passion." In the midst 
 of his pastoral duties he has written biblical and historical plays and dramas, 
 and " dramatical scenes " from the history of Bavaria. His religious dramatic 
 productions are entitled, " The Death of Abel," " Melchisedek's Sacrifice," 
 " Abraham's Obedience," " Judith," " Naboth." His dramas and dramatic 
 scenes from the history of his Bavarian Fatherland are, "The Founding of the 
 Monastery of Ettal," " Theodolinda," " King Heinrich and Duke Arnuld of 
 Bavaria," " Otto von Wittelsbach at the Veronese Hermitage," " The Bava- 
 rians in the Peasants' War," " Luitberge, Duchess of Bavaria." Legendary 
 scenes dramatized are, " St. Agatha " and " St. Genoveva." And what is more 
 striking than all the rest is the fact that the Geistlicher Rath has translated 
 " Antigone " from the Greek, and adapted it to the capacities of the Ammer- 
 gau players. The addresses of the Choragus in the Passion Play are written 
 by him after the Greek model of strophe and antistrophe. Many of the 
 dramas are written in blank verse. 
 
14 THE PASSION PLAY. 
 
 The selection of the actors for the various r<?/es is a task of great impor- 
 tance, and devolves upon a committee of forty-five householders, together with 
 the priest and the Geistlicher Rath. The election day is in the last week of 
 December of the year before the play ; the members first attend divine service. 
 When the committee meets, it is generally found that the principal parts are 
 easily disposed of, and require little discussion. But the minor characters 
 (and it must be remembered that they amount to some hundreds) give rise to 
 many difficulties which must be solved. Sometimes a name is mentioned and 
 finds at once such a general approval that the person proposed is accepted by 
 acclamation. After the decision is made by a majority of voices, there is no further 
 appeal ; and it rarely happens that an unfit person is designated. Materials 
 are at hand in abundance. The younger generation is very ambitious to fill 
 the more honourable parts ; and the greatest distinction known to an Ammer- 
 gauer is to have acted the " Christus" in the Passion Play. There were four 
 candidates for the " Christus " of 1 870 — Josef Maier, Thomas Rendl, Sebastian 
 Deschler and Johann Diemer, all of whom had great natural gifts capacitating 
 them for such an important trust. It had, however, long been an accepted 
 fact in the village that Maier was the one endowed above the others with the 
 requisite qualities. After this point was decided, Rendl was elected as Joseph 
 of Arimathaea, Deschler as Ezekiel, and Diemer took the part of the Choragus. 
 
 We have thus gained an insight into the preparations made by the 
 villagers of Ober-Ammergau for their religio-dramatic labours. Before 
 entering upon a description of the eighteen acts or divisions forming'the dramatic 
 story of the Passion, it will be of interest to become acquainted with the peculiar 
 structure of the Ammergau Theatre, the origin and destination of the beautiful 
 chorus of Schutzgeister or Guardian Angels, and to understand the relation 
 which singers and players bear to each other and to the audience. The 
 Passion Play being to the villagers an act of religious worship, it is not sur- 
 prising that they should select Sundays and the great festivals of their church 
 for its performance. The day is announced to the thousands ofvisitors in a simi- 
 lar manner as are the other great festivaldays of the church, such as Christmas, 
 Corpus Christi, as well as the King's birthday. Precisely at seven o'clock of 
 the evening preceding the day of performance, the musicians assemble at 
 the extreme end of the village, opposite the house of Tobias Flunger, and, 
 headed by the firemen in uniform, they strike up a lively march, and parade 
 through the principal street of the village, till they reach the meadow on the 
 opposite extremity, where the theatre stands. The music announces the 
 approaching festival day. The visitor to the Passion Play is not permitted to 
 slumber softly on play-day mornings ; he is awakened at the early hour of five 
 o'clock by the firing of the village cannon, planted on the meadow at the foot 
 of the Kofel ; this early call being intended to enable and to admonish villagers 
 and visitors to attend mass in the church before repairing to the theatre. At 
 seven o'clock the village musicians once more parade through the streets in 
 the same order as on the preceding evening, announcing to the visitors to 
 make their way to the theatre, in order to secure their places, if not already 
 reserved. 
 
VILLAGE AND PEOPLE. 15 
 
 The Ammergau Passion Theatre is a structure of very unpretending 
 exterior. It is buih entirely of boards, and is partly open to the sky. Con- 
 sidered in its relation to architectural beauty, the interior presents nothing of 
 importance except its simplicity. The auditorium has in width 1 18 feet, and 
 in depth 168. It occupies an area of nearly 20,000 square feet, and is 
 capable of conveniently seating an audience of from 5,000 to 6,000 persons. 
 The stage has been treated at considerable length by most writers on the 
 Passion Play. Some have found in it traces of the ancient classic theatre 
 of Greece. To others, again, it presents traces and a more perfect form 
 of the mystery theatre of the Middle Ages. The spectator sees, in all, 
 five distinct places of action for the players : first, the proscenium, for the 
 chorus, for processions] and the like ; second, the central stage,, for the 
 tableaux vivants and the usual dramatic scenes; third, the palace of Pilate; 
 fourth, the palace of Annas ; fifth, the streets of Jerusalem. A vast space is 
 thus placed at the disposal of the manager, not inferior in extent to that in the 
 nine-compartment stage used in the old mystery plays, yet infinitely more 
 artistic in its arrangement. And the most remarkable and beautiful of all the 
 accessories to this really wonderful stage is the natural scenery which delights 
 the eye of the spectator on every side. From the right a well-wooded moun- 
 tain, and from the left the cross-crowned Kofel gaze down upon the visitors 
 and their artistic entertainers ; while the eye, reaching over and beyond the 
 stage, rests upon the charming expanse of flowery meadow belonging to the 
 Ammergau valley, the view extending as far as the white houses of Unter- 
 Ammergau. The grandeur, the freedom, and the sweetness of the landscape 
 impart an air of enchantment to the theatre, enhancing the beauty of the acting, 
 and delightfully filling out all the intervals. 
 
 There remain two peculiarities of the Passion Play to which we must 
 devote separate paragraphs — the tableaux vivants or prophetic Old Testa- 
 ment types, and the chorus of Schutzgeister. Each of the eighteen acts, con- 
 taining a series of dramatic scenes complete in itself, is prefaced with one or 
 more of these tableaux, the subject of which is taken from the Old Testament. 
 They stand in the closest connection with the dramatic part of the perfor- 
 mance, being so many symbols and prophecies of the scenes from the life of 
 Christ which they are intended to illustrate. The small text-book published 
 by the community of Ober-Ammergau has some very appropriate remarks 
 upon this subject by the Geistlicher Rath Daisenberger. " Our main object," 
 he says, " is to represent the story of Christ's Passion, not by a mere state- 
 ment of facts, but in its connection with the types and figures and prophecies 
 of 'the Old Testament. By this manner of treatment an additional, strong 
 light will be cast upon the sacred narrative ; and the thoughtful spectator will 
 be able to realize the grand truth that Jesus Christ, the Son of God, made 
 man for our salvation, is the central figure of the inspired volumes. As in 
 the history of the Christian Church the life of the Saviour and all His sacred 
 actions are continually repeated and reproduced, to the extent that (accord- 
 ing to Scriptural commentators) He lives over again, suffers and triumphs 
 again in His saints, so it happened before His appearance in the flesh, that the 
 
l6 THE PASSION PLAY. 
 
 holy patriarchs and other saints of the Old Testament foreshadowed His 
 coming by the events of their history and by their virtuous lives. For He is 
 the eternal Sun of the spiritual world, the Sun of Justice, sending forth His 
 divine rays to illuminate in all directions both His predecessors and successors, 
 no less than His contemporaries. Many of the incidents in the lives of the 
 ancient fathers bear a striking and obvious resemblance to various parts in 
 the life of the Redeemer, and set forth the sufferings, and death, and resurrec- 
 tion so minutely that the Evangelists continually mention some prophecy 
 which was fulfilled. Thus, the heroes of the Scriptures, Adam, the obedient 
 Abraham, Isaac, Joseph, Job, David, Micaiah, Jonas, Daniel, and so many 
 others who laboured and suffered in His Spirit, represent in part, though 
 imperfectly. His life, and through what they accomplished and suffered they 
 became the prophets of that which in Him, the Urbild, the primitive type, 
 should take place. In this fundamental thought is the representation of the 
 Passion arranged and performed on the basis of the entire Scriptures." 
 
 We now turn our attention to the Chorus of Schutzgeister, or Guardian 
 Angels, this most charming institution of the Ammergau stage. Many 
 writers, following up their general theories upon this subject, recognize in the 
 chorus a simple adaptation of the corresponding part of the classic theatre to 
 modern use. But the assumption is justified only in a slight degree. The 
 chorus consists of eighteen Schutzgeister, with a leader, who is styled the 
 Prologue or Choragus. They have dresses of various colours, over which a 
 white tunic, with a golden fringe, and a coloured mantle are worn. Their 
 appearance on the stage is solemn and majestic. They advance from the 
 recesses on either side of the proscenium, and take up their position across 
 the whole extent of the theatre, forming a slightly concave line. After the 
 chorus has assumed its position, the Choragus gives out in a melodramatic 
 manner the opening address, or prologue, which introduces each act ; the 
 tone is immediately taken up by the whole chorus, which continues either in 
 solo, alternately, or in chorus, until the curtain is raised in order to reveal a 
 tableau vivant. At this moment the Choragus retires a few steps backward, 
 and forms, with one-half of the band, a division on the left of the stage ; 
 while the other half withdraws in like manner to the right. They thus leave 
 the centre of the stage completely free ; and the spectators have a full view 
 of the tableau which is thus revealed. A few seconds having been granted 
 for the contemplation of this picture, made more solemn by the musical reci- 
 tation of the expounders, the curtain falls again, and the two divisions of the 
 chorus coming forward, resume their first position, and present a front to the 
 audience, observing the same grace in all their motions as when they parted. 
 The chanting still continues, and points out the connection between the 
 picture which has just vanished and the dramatic scene which is forthwith to 
 succeed. The singers then make their exit. The task of these Spirit-Singers 
 is resumed in the few following points : they have to prepare the audience 
 for the approaching scenes. While gratifying the ear by delicious harmonies, 
 they explain and interpret the relation which shadow bears to substance, the 
 connection between the type and its fulfilment. And, as their name implies, 
 
VILLAGE AND PEOPLE. 
 
 17 
 
 they must be ever present, as Guardian Spirits, as heavenly monitors, during- 
 the entire performance. 
 
 The part intrusted to the Chorus of Schutzgeister, and the profound 
 impression their appearance and singing leave upon the spectator, have, 
 perhaps, never been better expressed than in the following " Dialogue with 
 the Chorus of the Passion Play at Ober-Ammergau," the beautiful verses of 
 which are, however, somewhat marred by translation. Their author is a 
 young lady of Augsburg, Fraulein Bertha Thiersch. 
 
 Address. 
 
 Whence come ye hither, beings fair as day, 
 With wondrous voice, and gentle, earnest 
 gaze? 
 Why in this mountain valley do ye stay ? 
 And what high theme inspires your songs 
 of praise ? 
 
 Answer. 
 
 Strangers we are ! Our joyous youth is fled ; 
 
 In distant parts our native valleys lie ! 
 There learnt we song : yet oft we hear it 
 said : 
 Good Angels they ! sent hither from on 
 high! 
 
 Address. 
 
 God greet ye all, ye messengers from far ! 
 I well perceive your glorious mission's 
 aim ! 
 Yea, ye are like to that bright, wondrous 
 star. 
 That once gleam'd o'er the hut at Beth- 
 lehem ! 
 
 Ans7ver. 
 
 Not ours the fame, not ours the honour vain ; 
 
 For what we do — we cannot otherwise ! 
 The Highest God we praise in tuneful strain, 
 
 And He the Son, descended from the 
 skies ! 
 
 Address. 
 
 Mine ear doth list and marvel at your song. 
 The heart is moved at your alternate 
 choir : 
 
 Ye call up scenes that to the past belong ; 
 Ye teach us how salvation to acquire ! 
 
 Answer. 
 
 We go lamenting o'er the Saviour's woes ; 
 
 We sing His one great sacrificial deed ! 
 On Golgotha we count His parting throes : 
 
 Deeply we feel the human children's 
 need ! 
 
 Address. 
 
 I hear ye sing, with loud exultant breath, 
 Praising the vict'ry which for us He 
 gain'd ! 
 He who for us despised not bitter death. 
 And for our sins redemption sweet ob- 
 tain'd ! 
 
 Answer. 
 
 Yea, 
 
 the Good Master from your view is 
 ta'en, 
 No longer doth He in your midst so- 
 journ ! 
 But as He left, so will He come again ! 
 
 sing, rejoicing in His near return ! 
 
 Address. 
 
 Your words of peace and comfort still I 
 hear : 
 
 1 see in spirit all those pictures fair ! 
 That God protect and guard this people 
 
 dear — 
 This be the subject of my earnest prayer ! 
 
 Mrs. Hewitt gives her memories of the Schutzgeister in the following 
 beautiful words : "And whilst they sang, our hearts were strangely touched, 
 and our eyes wandered away from those singular peasant-angels and their 
 peasant audience, up to the deep, cloudless sky ; we heard the rustle of the 
 trees, and caught glimpses of the mountains, and all seemed a strange, 
 poetical dream." 
 
 A single feature more. The villagers consider the play in the light of a 
 precious heirloom, and its performance is a labour of love. In the year 1870 
 
i8 • THE PASSION PLAY. 
 
 the community refused an offer of a hundred thousand guldens from an enter- 
 prising German, who wished to farm the receipts for that year. In 1871 
 they again refused very tempting offers, when they were invited to perform 
 in America and England; and in 1872 they vanquished another temptation. 
 A sum of sixty thousand florins was offered to the community, on the con- 
 dition that some of its members would perform the Passion Play in Vienna, 
 during the Exposition of 1873, which they likewise refused. The community 
 is on the whole a moderate gainer. The individuals lose in neglected work 
 more than they are paid for their roles. A good portion of the receipts is 
 applied to municipal purposes. In the distribution of the honorarium among 
 the players, it is customary to regulate the amounts according to the number 
 of words which they have to recite, and according to the prominence of the 
 character delineated. In 1871 no actor received more than two hundred 
 florins, with the exception of Joseph Maier, for his delineation of Christ, and 
 he surpassed this sum only by twenty florins. In 1870 his remuneration 
 consisted in the sum of one hundred and sixty florins, the same amount 
 which his predecessor of 1 860, Rupus Schauer, had received. Tobias Plunger 
 received for the same part in 1850 a sum of but sixty florins, or five pounds 
 sterling! These good people assuredly deserve all they can earn in the 
 Passion year, which comes only once in every decade ; for wood-carving is 
 very meagrely paid. Even Joseph Maier, the delineator of Christ, who is a 
 skilful workman, does not earn over eight florins per week in ordinary times ; 
 and Plunger (Pilate), with his whole family of five or six working members, 
 scarcely double that amount ! True, the wants of the people are easily satis- 
 fied, and their plot of meadow and their fruit gardens help to make life more 
 comfortable than it seems at the first glance. 
 
 Thus, with a knowledge of the history of the village of Ober-Ammergau, 
 the character of the inhabitants, and the influences under which they live, 
 the reader will be the better able to appreciate the Passion Play, and to 
 understand the " secret spell that enabled the wood-carvers of a village in 
 the highlands of Bavaria to attract multitudes of men and women, whom the 
 highest efforts of histrionic art would fail to tempt fifty miles from their own 
 firesides at home." The people of Ammergau are not remarkable either for 
 extraordinary genius or for eminent sanctity, as the vulgar notion supposes ; 
 but they enjoy the advantage of having been instructed by trials of various 
 kinds ; and the hardships entailed by the mountain valley in which they live 
 have contributed to bring out all their faculties, while their dramatic talent 
 has been developed by a happy blending of local and religious influences, 
 disseminated primarily by the church and its teachers. 
 
THE PASSION THEATRE AND THE " KOFEL/' 
 
THE PASSION PLAY. 
 
 PART I.— FROM CHRIST'S TRIUMPHAL ENTRY INTO 
 
 JERUSALEM TO THE BETRAYAL 
 
 IN GETHSEMANE. 
 
 THE PROLOGUE. 
 
 Tableau I. The Fall : Adam and Eve expelled from Eden. 
 Tableau II. The Redemption : The Adoration of the Cross. 
 
 HE Passion Play has a double prelude, one of Prayer and one 
 of Nature. Precisely at eight o'clock the booming of cannon 
 planted beneath the peak of the Kofel announces that the drama 
 is about to be commenced. If the curtain of the central stage 
 were removed while the musical overture is being played, so as 
 to at once reveal what is only to be gradually unfolded, the heart of many in- 
 different spectators would be filled with surprise. In the principal scene of 
 the future labours of the players assemble all the, members of the community 
 who are to take an active part in the performances, upwards of five hundred 
 in number, together with their pastor, and there engage in silent prayer. That 
 is the unseen prelude to the Passion Play. There is also the prelude of 
 Nature. The eye, wandering far beyond the limits of the stage, dwells upon 
 the green sun-bathed landscape of the valley. To the right and left the gaze 
 rests on mountains fringed with firs, and, more prominent than all, on the 
 high-peaked Kofel, with its high cross gilded by the morning's rays. The ear 
 
 c 
 
20 THE PASSION PLAY. 
 
 of the visitor is captivated by soft, thrilling melodies, as the lark soars from 
 her nest among the meadow grass beyond, and pours out her morning hymn 
 to the Creator. From the distant hills the tinkling of the cow-bells comes 
 faintly to the ear. Nature and Art unite in preparing the mind for the grand 
 scene of Christ's triumphal entry into Jerusalem. A wonderful prelude, which 
 has inspired in an English poet the following beautiful lines : — 
 
 How clearly on my inner sense are borne The birds that o'er us from the upper day 
 
 The fair, fresh beauty of the mountain Threw flitting shade, and went their airy 
 
 morn, way, — 
 
 And cries of flocks afar, and mixed with The bright-robed chorus and the silent 
 
 these throng, 
 
 The green delightful tumult of the trees. And that first burst and sanctity of song ! 
 
 The Chorus of Schutzgeister appears upon the stage. They stand before 
 the audience with hands folded across the breast, in the attitude of prayerful 
 repose. The Choragus opens the Play by explaining the main object of the 
 whole performance: how the fallen human race became reconciled to God 
 through the blood of His only-begotten Son. This main object, the whole 
 extent and scope of the Passion Play, is to be exhibited in two tableaux, which 
 the Choragus introduces in a brief prologue. The first type represents the 
 expulsion of Adam and Eve from Eden — symbolical of the Fall ; the second, 
 the Adoration of the Cross — typical of Redemption. We have in these two 
 tableaux a wonderful symbolism : the Tree of Death'with the forbidden fruit, 
 whose mortal taste brought sin and sorrow into the world : the Tree of Life, 
 or the Cross, symbolical of hope and refuge for sinful and repentant humanity. 
 The first verse of the intoned prologue falls with powerful intensity on the 
 ear : — 
 
 Wirf zum heiligen Staunen dich nieder, O, human race ! by sin and shame laid low. 
 
 Von Gottes Fluch gebeugtes Geschlecht ! Adore thy God : bend down and kiss the 
 
 Friede dirr — aus Sion Gnade wieder ! dust ! 
 
 Nicht ewig ziirnt Er, Peace then shall come, and grace from 
 
 Der Beleidigte — ist sein Ziimen gleich Zion flow : 
 
 gerecht. Not ever spurns He 
 
 The Offended One : although His wrath is 
 just ! 
 
 "Ich will" — so spricht der Herr — ** I will," the Lord doth say, 
 
 ** Den Tod des Sunders nicht — vergeben " Not that the sinner die — forgive 
 
 Will ich ihm — er soil leben ! Will I his guilt, and he shall live ! 
 
 Versohnen wird ihn selbst meines Sohnes My Son's own blood shall now atone for 
 
 Blut, versohnen !" him !" 
 
 Preis, Anbetung, Freudenthranen, Ewiger Praise, worship, tears of joy to Thee, Eter- 
 
 Dir ! nal One ! 
 
 First Tableau. — After the Choragus has finished, the Chorus divides 
 and retires to the extremities of the central stage. The first typical picture 
 is then revealed. Adam and Eve driven out of the Garden of Eden 
 by the angel with the flaming sword, flee from the threatened punish- 
 ment. Paradise is in the background, and in the centre is seen the tree of 
 life, laden with luscious fruit, while from its branches the tempter, in the form 
 
THE PROLOGUE. 
 
 21 
 
 of a serpent, is seen. While the tableau is exposed to the gaze of the spec- 
 tators, the Choragus gives in song the story of its significance : — 
 
 Die Menschheit ist verbannt aus Edens 
 Au'n 
 
 From Eden and its tree of knowledge 
 
 bann'd, 
 See our first parents, sin-benighted, stand ! 
 God, through the cherub, doth His wrath 
 
 proclaim, 
 And guards the entrance with a sword of 
 
 flame ! 
 
 But in the distance, from 'mid Calvary's 
 
 throes, 
 Through the dark night the glow of mom 
 
 appears. 
 See, from the branches of the Cross there 
 
 flows 
 Sweet, balmy peace to all created spheres ! 
 
 O, God of mercy, full of wondrous love, 
 Those Thou forgiv'st who spurn Thy high 
 
 decree ! 
 Thy first-bom Son Thou sendest from above 
 To die, that sinners may find grace with 
 
 Thee! 
 
 Second Tableau. — The curtain falls after the Choragus has sung the 
 first stanza. When the Schutzgeister have taken up their positions across 
 the entire extent of the stage, the leader announces the message of salvation. 
 Then the Chorus retires and the second tableau, the Adoration of the Cross, is 
 revealed. Before a large cross, planted on a rock (symbolical of Chris- 
 tianity), a number of heavenly genii (little children of the village clad in 
 garments of white and mantles of bright colours) stand or kneel in the 
 attitude of worship. The tableau, so beautiful in itself, is executed with 
 marvellous art by these infant dramatists. The angelic forms and their tiny 
 wards are silent, but the feelings by which they are animated, and the prayer 
 of which their hearts are full, find utterance in the words of the Schutzgeister, 
 who fall upon their knees and chant the following hymn : — 
 
 Ew'ger ! hore deiner Kinder Stammeln ! Eternal God, O hear Thy children's prayer, 
 
 Weil ein Kind ja nichts als stammeln kann ; Though children-like we pray with faltering 
 
 l/'on Siind' umnachtet und von Todes- 
 
 Grau'n. 
 Ihr ist zum Lebensbaum — der Eingang 
 
 ach ! versperrt. 
 Es drohet in des Cherubs Hand das Flam- 
 
 menschwert. 
 Doch von Feme, von Calvarias Hohen 
 Leuchtet durch die Nacht ein Morgen- 
 
 gliih'n ; 
 Aus des Kreuzbaumes Zweigen wehen 
 Friedenslufte durch die Welten hin. 
 
 Gott ! Erbarmer ! Sunder zu begnaden. 
 Die verachtet schandlich Dein Gebot, 
 'Gibst Du, von dem Fluche zu entladen, 
 Deinen Eingebornen in den Tod. 
 
 Die beim groszen Opfer sich versammeln, 
 Beten Dich voU heil'ger Ehrfurcht an. 
 
 tone ; 
 Those who to see the Sacrifice repair. 
 Bow low in faith and worship at Thy 
 
 throne ! 
 Oh ! follow close by the Redeemer's side, 
 The while He, patient, treads the thorny 
 
 path ; 
 Nor leave Him while He struggles with 
 
 the tide, 
 Until for you the victory He hath. 
 
 In this brief prologue, in the plastic tableaux, and the songs of the Chorus, 
 are embodied the general outline of the drama and the whole scope of the 
 drama of redemption. 
 
 Folget dem Versohner nun zur Seite, 
 Bis er seinen rauhen Domenpfad 
 Durchgelaufen, und im heissen Streite 
 Blutend fur uns ausgekampfet hat. 
 
22 THE PASSION PLAY. 
 
 ACT I.— CHRIST'S ENTRY INTO JERUSALEM. 
 
 ^HE Chorus has scarcely disappeared when the first dramatic act 
 of the Passion Play commences. From the distance, beyond the 
 city as it were, sounds of rejoicing, of glad shouting and singing, 
 are heard. The audience must, in this case, leave imagination to 
 supply the scenery. Down the slope of Olivet comes the Messianic proces- 
 sion, and one hears the singing and rejoicing of the crowds of Passover 
 pilgrims and the people of Jerusalem who welcome Jesus to the Holy City. 
 From the side streets bands of Hebrew children, led by their parents or 
 teachers, come forth to join the throng that has already collected about Christ. 
 In the midst of the crowd we distinguish Christ Himself, seated upon the ass,^ 
 and His disciples following. The procession passes from the central stage 
 to the street leading into Jerusalem, and then through the gateway at the 
 right of the stage into the sunshine of the broad proscenium (which represents 
 Jerusalem). There are fully five hundred persons before Him. The children^ 
 boys and girls, wave their palm branches and sing with full hearts their Ho- 
 sannas, and men and women of all ages, clad in picturesque costumes, join 
 in the exultant crowd. The person of the' Saviour, surrounded by His disciples 
 and the welcoming multitude, forms the central figure of the scene. He remains 
 seated upon the ass, and raises His hands as if to bless or teach the people, 
 though His words are lost in the strains of the beautiful Hosanna-chorus, sung 
 by hundreds of voices : — 
 
 Heil Dir ! Heil Dir ! O Davids Sohn ! All hail ! all hail ! O David's Son ! 
 
 Heil Dir ! Heil Dir ! der Vater Thron All hail ! all hail ! Thy Father's throne 
 
 Gebiihret Dir. Belongs to Thee ! 
 
 Der in des Hochsten Namen kommt, Who cometh in the name most high, 
 
 Dem Israel entgegenstromt, Whom Israel's children glorify, 
 
 Dich preisen wir. We praise but Thee ! 
 
 Hosanna ! der im Himmel wohnet, Hosanna ! He that dwells above, 
 
 Der sende alle Huld auf Dich. Send down from heaven all grace to Thee t 
 
 Hosanna ! der dort oben thronet, Hosanna ! may the God of love 
 
 Erhalte uns Dich ewiglich. Keep us as Thine eternally ! 
 
 Heil Dir, &c. All hail, &c. 
 
 Gesegnet sei, das neu auflebet, O blissful day that shall restore 
 
 Des Vaters David Volk und Reich ! Our father David's throne and race I 
 
 Ihr Volker segnet, preiset, hebet Ye peoples come, and God adore, 
 
 Den Sohn empor, dem Vater gleich. Who gives us of His constant grace I 
 Heil Dir, &c. All hail, &c. 
 
 Hosanna unserm Konigssohne ! Hosanna ! to our royal Son ! 
 
 Ertone durch die Liifte weit ! On every breeze send forth the strain ! 
 
 Hosanna ! auf des Vaters Throne Hosanna ! on His Father's throne 
 
 Regiere er voll Herrlichkeit ! In majesty He aye will reign ! 
 
 Heil Dir, &c. All hail ! All hail ! 
 
 The chief object of attraction, the figure of Christ, is now before every 
 eye. He has reached the centre of the proscenium, and descends with grace- 
 
ACT I.— CHRIST S ENTRY INTO JERUSALEM. 23 
 
 •ful ease from the animal on which He has been sitting. Of tall stature and 
 noble bearing, with long flowing hair of jet black, falling luxuriantly over his 
 shoulders, the actor who represents the Saviour appears. Of the scene a 
 •writer said in 1871: "No painting ever brought to the mind so complete a 
 realization of our ideal as this dramatic delineator, whose life has been one of 
 years of preparation for his task. No spectator could have gazed upon the 
 Saviour, although in the drama, for the first time and remain untouched by 
 the solemnity and grandeur of the scene." The great German dramatist 
 Edward Devrient, who wrote an interesting book on the Passion Play of 1850, 
 when Tobias Flunger was the delineator of the character of Christ, said : 
 •' The scene was noble and affecting. A most wonderful impression was made 
 when the Saviour Himself, with whose form our imagination had been busied 
 ever since the days of childhood, seemed actually to stand bodily before us, 
 moving, and exercising an indescribable authority. The figure was full of 
 heavenly mildness and majesty. The appearance and the movements were such 
 as to make us imagine that some mediaeval painting had been endowed with 
 life." Joseph Maier has a grander presence than either of his predecessors ; 
 although Plunger's personification seems to have been milder and sweeter. 
 While the people gather about the Saviour, a new scene is revealed. 
 
 The Temple Scene. — A number of high-priests and individuals belong- 
 ing to the Pharisees, attracted by the noise and the general commotion, enter 
 the proscenium by the opposite gateway, that is, as if coming from within 
 Jerusalem. The Saviour, having descended from the ass, addresses His 
 disciples in words which give full intimation of His approaching sufferings 
 and death. " The hour is come that the Son of man should be glorified. 
 Verily, verily, I say unto you, except a corn of wheat fall into the ground and 
 die, it abideth alone : but if it die, it bringeth forth much fruit." (John xii. 
 23, 24.) Suddenly a calm is perceived spreading over the multitude. The 
 Hosannas have subsided, and Christ approaches the centre of the proscenium, 
 when, the curtain of the central stage being raised, the scene described in 
 Mark xi. 15 appears in all its remarkable interest before the spectators. 
 "" Jesus went into the Temple, and began to cast out them that bought and 
 sold in the Temple, and overthrew the tables of the money-changers, and the 
 seats of them that sold doves." With a feeling of deep sadness and conster- 
 nation the Lord beholds the signs of profanation in His Father's house, near 
 the stately columns of whose entrance the traders have set up their tables. 
 At this sight the Saviour, folding His hands as if to offer a silent prayef, 
 advances with a dignified air towards the profaners and, in a tone of mingled 
 grief and indignation, exclaims : " What is this I see ? Is this the house of 
 God, or is it a market-place ! Must the strangers who come from the lands 
 of the Heathen to adore Jehovah perform their devotions among the throng 
 of money-changers ? And ye priests, guardians of the Sanctuary, can you 
 look on this abomination and suffer it to continue ? Woe to this venal race 
 of hirelings ! He who searches the heart knows wherefore ye tolerate and 
 further such disorder ! " " Who is this man ? " asks one of the traders. The 
 people, gazing with anxiety upon the scene, exclaim : '^ It is the great 
 
24 THE PASSION PLAY. 
 
 prophet from Nazareth, in Galilee ! " Christ advances with conscious dignity 
 toward the buyers and sellers, and says : " Away from this place, children of 
 Mammon ! I command you to depart. Take what is yours, and leave the 
 sacred place ! " 
 
 Whilst uttering these words the Lord takes from one of the booths a 
 number of cords used for the tethering of lambs brought for sacrifice, and 
 plaits them into a scourge with His own hands. He then advances to where 
 the traffic is most vigorous and noisy, and, to the great consternation of the 
 traders, overturns their seats and tables. Jars are dashed to the ground and 
 broken ; the doves are released from their cages and fly in haste to their 
 cotes in the city (village) ; and the money-changers, unable to rescue all 
 their effects, gather the coins which lie scattered on the ground. During 
 the whole of this energetic display of zeal and authority the Saviour never 
 loses His dignified composure. A scene of still greater confusion follows. 
 The priesthood, led by Caiaphas and Annas, appear in a manner which 
 strikingly contrasts with the majesty, sanctity, and just indignation of the 
 Redeemer, whom they refuse to recognize. Sadoc, one of the Council, 
 addresses Christ : " By what authority dost thou this ? " The high-priest& 
 charge Christ with rebelling against the religion of Moses and the prophets, 
 and seek thus to win the people to them, crying : " Revenge ! revenge ! With 
 us, ye that belong to Moses ! Moses is our prophet ! " Their cry is heartily 
 endorsed by the disturbed buyers and sellers ; it is seen how easily the multi- 
 tude becomes impressed by the addresses of the high-priests and Pharisees,, 
 especially of Caiaphas. While the enraged Pharisees and merchants retire, 
 plotting against the Saviour, the latter takes dignified leave of the people, and 
 returns with His disciples to Bethany. 
 
 In this act of the Passion Play we see the germ of the conspiracy that 
 leads to the final catastrophe. Edward Devrient said of the scene (in 1850): 
 " One thing has become with me a settled conviction. If I had entertained 
 a doubt as to the propriety of representing sacred subjects upon the stage,, 
 all such hesitation would vanish from this hour. Here can be nothing said 
 of a profanation of our ideal of the Redeemer. On the contrary, the picture 
 which I had hitherto endeavoured to represent to my mental vision of the 
 Son of God taking a visible form and acting His part on the theatre of the 
 world, in the midst of His friends and opponents, — this picture reappeared 
 at Ammergau; and, deprived of its dream-like vagueness, assumed all the 
 vigour of life and reality. I beheld for the first time the God-Man as a 
 pilgrim on the earth. In His triumphal entry into Jerusalem, when the 
 multitude hailed Him with shouts of Hosanna, I read on His brow that His 
 thoughts were turned far from the present scene of jubilation in order to con- 
 template the completion of His sacrifice on Calvary. Knowing that the 
 torments and the ignominy of the Cross were a necessary part of His heavenly 
 Father's scheme of salvation. He kept aloof from the sentiments of the excited 
 multitude, and was no more allured by their songs of triumph than He was- 
 afterwards daunted by their persecution, abuse, and blasphemy. He knew 
 that He must be betrayed, denied, abandoned by all, mocked, scourged^. 
 
JOSEPH MAIER, 
 The Delineator of "Christ" in 1870, 1871, and in 1880. 
 
/ 
 
 ACT II.— THE HIGH COUNCIL. 25 
 
 crowned with thorns and crucified. It was by means of the village tragedy 
 that I confronted these great truths of revelation. I then felt how deep is 
 the wound which has been inflicted by humanity against its Ideal. The 
 tragedy was more powerful than word or painting." 
 
 ACT II.— THE HIGH COUNCIL. 
 
 Tableau. The sons of Jacob conspire against their brother Joseph. — Gen. xxxvii. 18. 
 
 *HE conspiracy, which is delineated in the first act, is brought to 
 maturity in the second, in the conclave of the priests and scribes. 
 The point of connection between, the two is supplied both by the 
 Choragus and the Chorus. The part of the former is to deliver 
 to the audience a suitable address, in the melodramatic style, — an expository 
 survey of the events which have already transpired, together with intelligent 
 hints concerning what is yet to come. The Chorus then sings of the con- 
 nection of the tableaux with the dramatic scenes and their teachings, thus 
 drawing the past and the future nearer to each other. The addresses with 
 which the Choragus opens every succeeding act are the composition of the 
 Geistlicher Rath Daisenberger. They are written in the form of the ancient 
 strophe and antistrophe, with the difference that, whilst in the Greek theatre 
 they were spoken by different members of the chorus, they are delivered in 
 the Passion Play by the Choragus alone : — 
 
 " All hail ! Welcome to the band of brothers whom love divine hath here 
 assembled ; who wish to share the sorrows of their Saviour, and to follow Him, 
 step by step, on the way of His sufferings — to the cross and to the sepulchre. 
 All who have come hither from far and near, feel themselves, united in brotherly 
 love, as the disciples of the One who died for us all, and who, full of mercy and 
 compassion, gave Himself up to the bitter death for us. Let our gaze and heart, 
 then, be directed towards Him in harmonious thankfulness. Behold ! He feeletb 
 the approach of the hour of tribulation. He is ready to drink of the cup of 
 sorrow. For now the serpent-brood of the envious have formed a plot with 
 avarice to bring Him speedily to ruin. That bitter form of malice which once 
 inspired the brothers of Joseph with murderous desires, so that they shamelessly 
 complotted in fanatical wickedness to put the innocent to death, is urging on 
 the fallen priestly race to remove the Herald of truth from the number of the 
 living." 
 
 At the end of this address the orchestra strikes up an appropriate melody, 
 and a tableau, typical of the mystery, is revealed, the Choragus and his band 
 continuing their melodious recitation and explanations : — 
 
 Ha ! sind sie fort die losen Bosewichte — Ah ! are they gone, the ruthless sons of 
 Entlarvt die scheussliche Gestalt im vollen spite ? 
 
 Lichte — Their sordid forms and aims are brought to 
 Die Tugendlappe von dem Siinderrock ge- hght ! 
 
 rissen — From sin's 'vile garb the shreds of grace 
 Gegeisselt von dem nagenden Gewissen. are torn, 
 
26 
 
 THE PASSION PLAY. 
 
 ** Auf lasset uns " — so schrei'n sie wild— 
 
 " auf Rache sinnen, 
 Den langst entworfenen Plan beginnen ! " 
 
 Der Heuchler Plan malt uns das graue 
 
 Alterthum, 
 Wie Jakobs Sohne gegen Joseph sich ver- 
 
 schworen, 
 So werdet ihr von dieser Natterbrut 
 Bald liber Jesus " Tod und Blut " 
 Voll Tigerrache rufen horen. 
 
 By keen remorse the face is sear'd and 
 worn ! 
 
 "Up, let us think on vengeance!" wild 
 they cry, 
 
 * * The plot long laid commence : the man 
 shall die ! " 
 
 By envy's goad urged on, and vengeful ire, 
 
 Lo ! 'gainst their brother, Jacob's sons con- 
 spire ; 
 
 So now, a fallen race, a hideous brood, 
 
 Thirst with a tiger's rage for Jesus' blood ! 
 
 First Tableau. — While the Chorus divides the curtain is raised, and the 
 tableau or prophetic picture is revealed. The history itself is recorded 
 in Genesis xxxvii. The scene is the plain of Dothan, on w^hich Joseph found 
 his brethren and their flocks, and w^here the sequel of the biblical narrative 
 took place. In the foreground we see the brethren of Joseph, some leaning 
 upon their shepherd's staves, others seated on the ground. Their garments 
 are of various colours, and of a coarse texture. Joseph is more in the back- 
 ground. He wears the bright coat which his father gave him as a sign of 
 distinction, and which caused him so much persecution. The sons of Jacob 
 have already taken their resolution. Joseph is to be cast into a well, against 
 the walls of which one of the sturdy figures of this group is leaning. The 
 Chorus sings in solo and duet, alternately, and united : — 
 
 " See, the dreamer cometh nigh ! 
 As a king," enraged they cry, 
 "Us to govern, he presumeth ! 
 This impostor we'll expel ! 
 Let him in this empty well 
 Wear the robes he now assumeth ! " 
 
 Thus, too, is the viper's brood 
 Thirsting for the righteous blood. 
 " Honour we must save," they cry, 
 " Him they seek, from us they fly ! 
 What we love He e'er opposeth. 
 And His life our life discloseth ! " 
 
 "Come, and if we can decoy Him — 
 Hasten, seize Him, and destroy Him ! 
 Onward push the plans we cherish — 
 Now away, He sure must perish ! " 
 
 Destroy, O God, these impious bands. 
 Who scorn Thy name, their vices boast, 
 
 Thy Son expose to murderers' hands ; 
 Exterminate the recreant host. 
 
 O let Thy mighty thunders peal 
 
 And lightning, fraught with ruin, flash ; 
 
 Let all Thy terrors sinners feel ; 
 
 Their bones to dust in vengeance dash ! 
 
 Sehet dort, der Traumer kommt 
 Er will, schrei'ri sie unverschamt, 
 Als ein Konig uns regieren. 
 Fort mit diesem Schwarmer, fort ! 
 Ha ! in der Cisterne dort 
 Mag er seinen Plan ausfiihren. 
 
 So nach des Gerechten Blut 
 
 Diirstet jene Natterbrut. 
 
 Er ist, schrei'n sie, uns entgegen : 
 
 Unsre Ehre liegt daran — 
 
 Alles ist ihm zugethan — 
 
 Wandelt nicht nach unsern Wegen. 
 
 Kommet, lasset uns ihn todten ! 
 Niemand kann und mag ihn retten. 
 Laszt uns fest darauf besteh'n ! 
 Fort ! er soil zu Grunde geh'n. 
 
 Gott vertilge diese Frevler-Rotte, 
 Die sich wider Dich emport. 
 Und den Morderbund zum Spotte 
 Deines Eingebornen schwort. 
 
 Lasse Deiner Allmacht Donner brlillen, 
 Deine Rechte Blitze gliih'n, 
 Dasz sie Deiner Rache Starke fiihlen, 
 Schmett're in den Staub sie hin. 
 
 The two last stanzas give vent to such an impetuous zeal, and are of 
 
ACT II.— THE HIGH COUNCIL. 27 
 
 such a vehement character, that some counterbalancing influence was feh to 
 be wanting. Accordingly the following strains, breathing reconciliation, are 
 commended by the soothing accents of two female voices, breaking in upon 
 the Chorus. The last stanza is sung by the entire Chorus : — 
 
 Aber, nein, er kam nicht zum Verderben No, you know not God's most secret plan ! 
 
 Von des Vaters Herrlichkeit ; When the Son His Father's glory left, 
 
 Alle Siinder sollen durch ihn erben Grace He brought, and bliss to sinful man, 
 
 Gnade, Huld und Seligkeit. Again enriching him, of all his gifts bereft ! 
 
 Voll der Demuth beten dann Meek and humble, full of awe, 
 
 Deiner Liebe groszen Plan, We, Thy children, evermore, 
 
 Gott ! wir, Deine Kinder, an. Thy holy will and all Thy ways adore. 
 
 The High Council. — The Chorus retires from the proscenium. The 
 rising curtain reveals within the central stage the dramatic scene typically fore- 
 shadowed by the conspiracy of Dothan. The scene is the Jewish Sanhedrim, 
 the assembly of the high-priests of the Synagogue, who purpose discussing 
 what measures shall be taken against the Galilean. The priests composing 
 the assembly are seated on benches about the room ; Caiaphas and Annas 
 presiding during the debates. The breast of the former is graced with the 
 most sublime of all Jewish decorations, namely, the shield or breastplate con- 
 taining twelve precious stones, with the names of the twelve tribes of Israel. 
 Annas, not being actually in supreme power, does not wear the breastplate ; 
 his costume is entirely of white. The Sanhedrim does not lose much time 
 before commencing the earnest business that has called the members to- 
 gether. Caiaphas, the violent, irritable, despotic high-priest (admirably 
 represented by Johann Lang), is the first to rise. With a penetrating, threaten- 
 ing voice, he opens the discussion. " Venerable assembly of priests, teachers, 
 and fathers of the people ! " he exclaims. " Our religion, our laws, are in 
 danger of being cast down. Shall we again celebrate the Easter festival? Is 
 not the Galilean prince in Jerusalem ? Did He not drive out the buyers and 
 sellers from the Temple, with the scourge ? He has also attacked Moses and 
 the prophets ! How long shall we dally ? Who shall restrain the people from 
 being led away ? It is fearful ! Have you not seen how He entered our city 
 in triumph ? Shall we wait here until the last shadow of our power is gone ? 
 It is better that one die." The assembly cry out as with one voice, "We, too, 
 declare for His death ! " The aged Annas rises from his seat, and speaks with 
 passion, " By my grey hairs I swear not to rest until the inheritance of our 
 religion is secured by His death." The question arises, how can they get 
 Christ into their power, since He has so many followers among the people. 
 Money and promises appear to them the most appropriate means ; and the 
 buyers and sellers of the Temple the ready tools for their revenge. Two 
 delegates are then sent to fetch the usurers to the assembly, and the latter 
 shortly afterwards appear. They say that they do not fear the people, the adhe- 
 rents of Jesus, and cry, " Did not the High Council give us permission to buy 
 and sell within the Temple ? And has not the Galilean driven us therefrom ? 
 Yes, with a scourge did He drive us out ! He must suffer for it with His blood. 
 
28 THE PASSION PLAY. 
 
 Revenge ! Revenge ! '' They then receive the commission from the Sanhe- 
 drim to find out Christ's place of sojourn ; and while they are discussing 
 further the plan of revenge, one among them says that he knows one of the 
 disciples of Christ, whom he thinks capable of betraying his Master. The 
 Sanhedrim is closed by Annas rising, and addressing the members in the fol- 
 lowing words : " Fathers and friends ! In my old days I could almost leap 
 for joy ! I feel anew my heart warmed through. As from a sweet slumber 
 I awake. Let us go, and do what we have determined upon. Praised be our 
 fathers, Moses, Isaac, and Jacob." Devrient said that at this point he thought 
 he could not better designate the method of representation than by saying it 
 was to him as if pictures of mediaeval painters had become endowed with life. 
 
 ACT III.— CHRIST'S DEPARTURE FROM BETHANY. 
 
 Tableau I. Young Tobias taking leave of his parents. — Tobias v. 32. 
 Tableau II. The Lamenting Bride of the Canticles. — Song of Solomon vi. 
 
 FTER the last visit to Jerusalem, where the enemies of Christ had 
 become stronger and bolder, He continued His practice of leaving 
 the tumultuous city at sunset, and going with His disciples to 
 Bethany, where He stayed until the morning, and then returned to 
 Jerusalem. Bethany was to the Lord a beloved sojourn. It was not only the 
 home of Simon the leper, but also of Lazarus, whom He had raised from the 
 dead, and of his two sisters Mary and Martha; It is to be observed that 
 Mary was, in all probability, the same person as Mary Magdalene, and the 
 Ammergau dramatists consider her as such, though the point is disputed by 
 several noted critics. The scene of Christ's taking leave of His mother is laid 
 in Bethany. The two principal scenes connected therewith, the anointing of 
 the Saviour's feet by Mary Magdalene, and the parting from His mother, are 
 indicated and introduced by two tableaux. The one represents young Tobias 
 about to depart from his parents ; the other, the Lamenting Bride of the 
 Canticles. The connection between these Old Testament types and the 
 dramatic incidents is made sufficiently conspicuous by the explanatory address 
 of the Choragus : — 
 
 " He who, with clear gaze, can penetrate the veil of the future already 
 sees the storm that is gathering, and which will soon pour its vengeance upon 
 His head. During the last brief hours, whilst tarrying amid His friends, 
 He intimates to them His departure in words which painfully wound the spirit 
 of His beloved mother. See how sorrowful is the mother of Tobias as she 
 gazes on the departing son so dear to her heart. Her pain finds relief in 
 streaming tears. Even so the mother of Jesus sighs and weeps when she 
 beholds her divine Son going with resolute step to His fate, resolved on 
 freeing humanity of sin by His death. See the spouse in the Song of Solomon, 
 how she laments because the Bridegroom has disappeared ! How she weeps, and 
 searches, and allows herself no repose until she has again found the object of 
 her affections. The pain in the soul of Mary is more tranquil. Her heart is, 
 
ACT III.—CHRISTS DEPARTURE FROM BETHANY. 29 
 
 indeed, pierced as with a sword, but she bears the wound with pious resigna- 
 tion, and never loses confidence in God." 
 
 The musical performance opens with a single female voice ; and pre- 
 sently the Chorus joins in, and introduces the first tableau with a pathetic 
 melody, accompanying these words : — 
 
 Ach, sie kommt die Scheidestunde, The parting hour is now approaching, 
 
 Und sie schlagt die tiefste Wunde, The sea of bitterness encroaching, 
 
 O, Maria, in dein Herz. O, sweet Mary, on thy heart I 
 
 Ach, dein Sohn muss dich verlassen, Alas, thy Son, He now must leave thee, 
 
 Um am Kreuze zu erblassen ! On the Cross to die, bereave thee ! 
 
 Wer ermiszt den Mutterschmerz ? Who can heal the mother's smart ? 
 
 First Tableau. — After the chanting of these words the Chorus divides 
 and retires, in order to direct the gaze of the audience upon the tableau of 
 young Tobias leaving his parental home. The aged father sends his boy to 
 a distant city; but the latter, not knowing which road to take, goes out to seek 
 some one who may accompany him as a guide. He finds the angel Raphael 
 standing at the door, with staff in hand, and with provisions ; in a word, quite 
 ready for the journey. The features of young Tobias are overcast with a 
 shade of melancholy, occasioned by the thought of parting from his beloved 
 parents. Full of confidence, however, he gives his right hand to the angel. 
 In the foreground is seen the dog mentioned in the biblical narrative as having 
 accompanied Tobias in his wanderings. The picture is revealed whilst the 
 first two stanzas of the following melody are being sung by the Chorus : — 
 
 Freunde, welch' ein herber Schmerz O, friends, see what a fearful pain 
 
 Folterte das Mutterherz, The mother's heart doth here contain 
 
 Als Tobias an der Hand When, by the father's high command, 
 
 Raphaels in fremdes Land Her son leaves for a foreign land — 
 Auf Befehl des Vaters elite ! An angel as his guide. 
 
 Unter tausend Weh' und Ach She grieves ; and, 'mid her tears and sighs, 
 
 Ruft sie dem Geliebten nach : How often to her boy she cries, 
 
 Komme, ach, verweile nicht, "My heart's sole trust, and light and song! 
 
 Meines Herzens Trost und Licht ! My boy! nor tarry thou so long 
 Komme, komme bald zuriicke ! From thy sad mother's side." 
 
 Ach, Tobias ! Theuerster ! And, mother-like, her soul oppress'd, 
 
 Eil' in meine Arme her, She prays that all his ways be bless'd ; 
 
 Liebster Sohn ! an dir allein " Dear boy," she cries, *' alone in thee 
 
 Wird mein Herz sich wieder freu'n, Can my poor heart rejoiced be — 
 Freuen sich der schonsten Freude. In thee, my only pride ! " 
 
 Trostlos jammert sie nun so. Thus comfortless, lamenting, sad, 
 
 Nimmer ihres Lebens froh. And never in her life long glad. 
 
 Bis ein sel'ger Augenblick Until an hour of blissful joy 
 
 In den Mutterschooss zuriick Brings back once more the long-lost boy 
 
 Den gehebten Sohn wird fiihren. Unto the mother's side. 
 
 Second Tableau. — The second tableau, the Lamenting Bride of the 
 Canticles, is, like the first, intended to prepare the audience for the scene 
 which succeeds — the departure of Christ from Bethany and His taking leave 
 of Mary. The scene is laid in a luxuriant flower-garden. The sorrowing 
 Bride, clad in snow-white, is surrounded by her bridesmaids chosen from among 
 
30 THE PASSION PLAY. 
 
 the daughters of Jerusalem. They look with tender sympathy upon their 
 distressed mistress, and would fain comfort her with singing and sweet strains 
 from their harps and cymbals. This tableau has frequently been condemned 
 as the least appropriate symbolic picture of the play, but the idea embodied 
 in it is peculiarly delicate. One of the most usual comparisons adopted in 
 Scripture to set forth the union of Christ and the Church is that of a marriage, 
 in which Christ is represented as the bridegroom and the Church as a bride. 
 The accompanying solo is rendered by the first female voice of the Chorus. 
 It is intended to express the lament of the Bride, sung to the daughters of 
 Jerusalem. The following is a rendering of the words : — 
 
 The Bride's Lament. 
 
 Wo ist er hin ? Wo ist er hin Oh ! where doth my Beloved stay ? 
 
 Der Schone aller Schonen ? Of mortals he the fairest ! 
 
 Mein Auge weinet, ach ! um ihn For him I weep my life away ! 
 
 Der Liebe heisse Thranen. What sorrow, heart, thou bearest ! 
 
 Ach, komme doch ! ach, komme doch ! Oh, come to me ! oh, come to me ! 
 
 Jt Sieh diese Thranen fliessen : Oh, see these hot tears flowing ! 
 
 Geliebter ! wie ? Du zogerst noch Beloved ! what ? why tarryest thou 
 
 Dich an mein Herz zu schliessen ? To clasp my heart o'erflowing ? 
 
 Mein Auge forschet uberall Mine eye is ever seeking thee, 
 
 Nach Dir auf alien Wegen : In all the world surrounding ; 
 
 Und mit der Sonne erstem Strahl And with the sun's first beam of light 
 
 Eilt Dir mein Herz entgegen. My heart to thee is bounding. 
 
 The Chorus, comforting the Bride. 
 
 Geliebter ! ach ! was fiihle ich ? Beloved, ah, what do I feel ? 
 Wie ist mein Herz beklommen ! My heart is fill'd with sorrow ! 
 
 Geliebte Freundin ! troste Dich ; Beloved maid, be comforted 
 Dein Freund wird wieder kommen. For meeting comes a-morrow ! 
 
 O harre Freundin ! bald kommt er, Oh, maiden, wait ; he soon will come 
 Schlingt sich an Deine Seite ; And clasp thy true heart beating ; 
 
 Dann triibet keine Wolke mehr Then troubles ne'er a dark cloud more 
 Des Wiedersehens Freude. The joy of lovers' meeting ! 
 
 Uniting with the Chorus, The Bride answers : 
 O komm' in'meine Arme her. Oh, come into my arms ; Oh, come ! 
 
 Schling Dich an meine Seite ; Oh, clasp my heart in sweet communion^ 
 
 Und keine Wolke triibe mehr No dark cloud, then, shall cast its gloom 
 
 Des Wiedersehens Freude. Upon our glad, our last reunion ! 
 
 The Anointment. — Christ appears with His disciples in the streets of 
 Bethany. The Lord tells His followers that the hour of parting has come. 
 But beyond death He promises to see them again. Christ's words induce the 
 good-hearted Peter to say, " Master, this idea of parting will not enter 
 my head at all ! " All the disciples are deeply sorrowful at Christ's words ; 
 only Judas shows anxiety for his future material life. Christ perceives this 
 disciple's thoughts, and says, " Judas, do not be more troubled than is neces- 
 sary ; " and to the others He says, " My good disciples, your thoughts are 
 much too human ; be comforted and follow me." All this is spoken on the 
 way. Soon the house of Simon is reached; some of the family appear to in- 
 
ACT III.—CHRISTS DEPARTURE FROM BETHANY. 31 
 
 vite Jesus to enter ; and He follows the invitation. The scene then changes 
 into a banquet room ; Christ and His disciples take places at the table, and 
 Martha waits upon the guests. Jesus takes a place to the left of the table ; 
 and while He addresses His disciples, Magdalena with her costly ointment 
 appears, casts herself at the Saviour's feet, and anoints them, full of penitence 
 and love. While engaged in anointing Christ's feet, the disciples gather 
 around in astonishment, while Judas points excitedly to the event. Gorres 
 has well remarked on this scene : " Here come two opposite sensations to 
 direct prominence. The good and the evil angels stand opposed : to the right 
 kneels penitent Love at the feet of her good Saviour, who, forgiving, permits 
 the anointment ; to the left stands Envy, who, selfish and cold, calculates the 
 material value of the offering, and would fain make it appear before the world 
 that his selfishness is sympathy and love for the poor." " What a costly oint- 
 ment ! " Judas says ; " why does he not hinder the foolish woman ? What a 
 waste of money ! How many poor people could have been supported from it. 
 Three hundred pence would certainly have been got for it." Magdalena, in 
 her deep pain and penitence, can only utter the pleading words, " Rabbi ! 
 Rabbi ! " And Jesus says : " Let her alone ; why trouble ye her ? She hath 
 wrought a good work on Me. . . . Verily I say unto you, WTieresoever this 
 gospel shall be preached throughout the whole world, this also that she hath 
 done shall be spoken of for a memorial of her." Finally Christ rises, 
 and thanks Simon for his hospitality. The good family appear sad at 
 Christ's departure, when Jesus comforts them by giving them hopes that 
 they shall soon meet again. He tells the disciples to follow Him. "Whither?" 
 they ask. "Let us not go to Jerusalem ! " Jesus answers, " Follow me: the 
 rest ye shall see." 
 
 The Parting at Bethany. — " Come, then," adds Christ, and leads the 
 way ; Mary Magdalene and Martha, and Lazarus and Simon follow some dis- 
 tance. Presently the Saviour stops, and again says to the sad-hearted 
 women: " Once more, beloved women, fare ye well." Then, turning towards 
 the charmful spot which so often afforded Him repose and shelter from 
 weariness and persecution. He exclaims : " Thou, dear, hospitable Bethany, 
 never again shall I linger in thy quiet valleys." The scene which follows — 
 Jesus taking leave of His mother — is deeply touching. Mary has approached 
 with her friends, whilst her son has been bidding farewell to His friends at 
 Bethany. It may appear strange to the spectator that the mother in the play 
 should be younger than her son ; hence it should be borne in mind that, ac- 
 cording to the ideas of the Bavarian peasant, the Madonna is possessed of 
 eternal youth. " O dearest Jesus ! " exclaims Mary, wringing her hands in 
 agony as she approaches her Son, " full of tender yearning have I hastened 
 with my friends to see Thee once more before Thou goest away." " Beloved 
 mother," tenderly answers the Son, " I am now on the way to Jerusalem. 
 Now, dearest mother, is the time appointed from the beginning to give myself 
 up as a sacrifice according to the Father's will. I am prepared to consum- 
 mate the work of atonement." "I have forebodings," says Mary; "my 
 heart tells me what kind of a sacrifice that will be." The disciples, who stand 
 
 ? 
 
32 THE PASSION PLAY. 
 
 around, are deeply affected at this scene. They all are filled with sorrow, 
 except Judas, who is all the while brooding over the waste of ointment, and 
 still mutters to himself, " These three hundred pence would just be enough 
 for me. If I had secured them, I could now live contentedly. No ! I will no 
 longer be one of His disciples, but will take the first opportunity of quitting 
 His company." Christ then leaves the scene, followed by His disciples and 
 Lazarus ; the women follow the retreating figures with their looks. Simon, 
 bethinking himself of the trust confided to him by the Lord, invites the Virgin 
 and her attendants to enter the house, where they relieve their common 
 sorrow by giving vent to their tears. Thus ends the pathetic, heart-melting 
 scene. The entire act is one of great dramatic interest and importance in the 
 Passion Play. It contains the germs of the betrayal. Envy, selfish, cold, 
 and calculating, takes possession of Judas's soul at the sight of the ointment 
 poured by the penitent woman over the feet of her Lord, and urges him on, 
 spurred by fear for his future material existence, to the deed of betrayal in the 
 Garden of Gethsemane. 
 
 ACT IV.— CHRIST'S LAST JOURNEY TO JERUSALEM. 
 
 Tableau. King Ahasuerus repudiates Vashti and elevates Esther. — Esther i. ii. 
 
 Quitting peaceful Bethany, Christ sets out for Jerusalem, in order 
 that the will of the Father who sent Him be fulfilled. It is His last 
 journey thither. He is going, indeed, to celebrate the Jewish 
 Passover, but He Himself is the Lamb which is to be slain for the 
 sins of the people. This scene is prefigured by the tableau of King Ahasuerus 
 repudiating his haughty queen, Vashti, and elevating Esther in her stead. In 
 like manner Christ is to reject the proud and disdainful Jews, as punishment 
 for their sins, and to elect for Himself a better and more worthy people. Its 
 significance is expressed in the following address of the Choragus : — " Behold, 
 O people of God, thy Saviour is at hand. The One long promised has come. 
 Hear and follow Him. Blessing and life He will bring. Jerusalem, alas ! is 
 blind and deaf. She haughtily rejects the hand offered her; therefore the Most 
 High turns away His face, and leaves her to go down to destruction. Thus in 
 ancient times the disdainful hearing of Queen Vashti, who refused to attend the 
 banquet of her lord and spouse, enraged the king, and caused him to banish her 
 from his presence. He chose a gentler and purer consort to share his throne. 
 Thus, too, will the Synagogue be abolished, and the kingdom of God intrusted to 
 another people — a people that will bring forth fruits of righteousness." 
 
 Before the tableau is revealed, the Choragus, assisted by the entire 
 Chorus, terminates his preparatory remarks with this solemn warning to 
 Jerusalem : — 
 
 Jerusalem ! Jerusalem ! Erwache ! Jerusalem ! Jerusalem ! arise, 
 
 Erkenne was zum Frieden dir noch werden And hear the voice that speaks to thee of 
 Kann ; peace ; 
 
ACT IV.—CHRISrS LAST JOURNEY TO JERUSALEM. 
 
 33 
 
 Doch zogerst du — so fangt die zeit der 
 
 Rache, 
 Unselige ! mit furchterlichen Schlagen an. 
 
 Jerusalem ! Jerusalem ! 
 Bekehre dich zu deinem Gott ! 
 Verachte nicht mit Frevelspott 
 
 Den Mahnungsruf der Gnade, 
 
 Dass nicht, Unselige, iiber dich 
 Dereinst in vollen Schalen sich 
 Das Hochsten Grimm entlade ! 
 
 Doch, ach ! — ach ! die Propheten-Morderin — 
 Sie taumelt fort in ihrem bosen Sinn. 
 Darum, so spricht der Herr, 
 Diess Volk will ich nicht mehr. 
 
 And know, if this last warning thou despise, 
 Thy day of grace for evermore will cease. 
 
 Jerusalem ! Jerusalem ! 
 Return unto thy God, return ! 
 Do not, with wicked mockery, spurn 
 
 Of grace the warning cry : 
 
 That not in fullest measure be, 
 Unhappy one, outpour'd on thee 
 The wrath of God most high. 
 
 Alas ! the prophet-murderess 
 Reels on in her deep wickedness ; 
 The Lord doth say, therefore, 
 •* I'll have this folk no more !" 
 
 Tableau. — The rising curtain reveals the tableau — King Ahasuerus re- 
 jecting Queen Vashti and elevating Esther to the vacated seat. The whole 
 narrative may be read in the book of Esther. King Ahasuerus made a great 
 feast ; and Queen Vashti made a feast for the women of his house. On the 
 seventh day, his heart being merry with wine, Ahasuerus commanded his 
 chamberlains to bring Vashti the queen before him, that he might show the 
 people and princes her beauty. But Vashti refused to obey the summons, 
 and the king was very wroth, and by the advice of his wise men, he deprived 
 her of her high position, as a warning to the whole land ; and he selected 
 Esther from among the virgins to be his queen. The Chorus sings : — 
 
 Seht Vasthi — seht ! die Stolze wird ver- 
 
 stossen ! 
 Ein Bild, was mit der Synagog der Herr 
 
 beschlossen. 
 
 Entferne dich von meinem Throne, 
 Du stolzes Weib ! unwerth der Krone ; 
 
 So spricht Assuerus ganz ergrimmt. 
 *'Dir, schone Esther ! dir sei heute 
 Zu herrschen an des Konigs Seite 
 
 Hier dieser Konigsthron bestimmt." 
 
 *' Die Zeit der Gnade ist verflossen ; 
 Diesz stolze Volk will ich verstossen." 
 
 So wahr ich lebe, spricht der Herr. 
 **Ein besser Volk wird er sich wahlen, 
 Mit ihm auf ewig sich vermahlen, 
 
 Wie mit der Esther Assuer." 
 
 Jerusalem ! Jerusalem ! 
 Ihr Siinder ! horet Gottes Wort ! 
 
 Wollt ihr noch Gnade finden, 
 So schafft aus eu'ren Herzen fort 
 
 Den Sauerteig der Siinden. 
 
 Proud Vashti, thou, rejected, dost declare 
 How the disloyal Synagogue shall fare. 
 
 " Depart for ever from the throne. 
 Learn, Pride! what thou canst call thine 
 own." 
 
 Thus speaks Ahasuems in his rage : 
 "Thee, beauteous Esther, we ordain 
 Next to the king to sit and reign, 
 
 Sharing our royal heritage." 
 
 "The time of grace is now gone by, 
 True as I live," saith God on high ! 
 
 "This people proud I will reject, 
 A better I will choose instead. 
 With whom eternally to wed, 
 
 As Ahasuerus Esther did elect." 
 
 Jerusalem ! Jerusalem ! 
 Ye sinners, hear the words divine : 
 
 Would ye still find God's grace ? 
 From out your inmost heart erase 
 
 The leaven of sin malign ! 
 
 The Journey to Jerusalem. — The opening scene presents Christ and 
 the apostles on their way to Jerusalem. They are passing the brow of Olivet. 
 
34 THE PASSION PLAY. 
 
 Before them lies the Holy City. Christ casts His eyes upon the proud city 
 and weeps over its doom. Peter asks : " Wherefore, Master, art thou so 
 sorrowful ? " Jesus answers : " The fate of the unfortunate city goes to my 
 heart." John: " And what will be this fate ? " " The days shall come," re- 
 plies the Saviour, " that her enemies shall cast a trench about her, and com- 
 pass her, and keep her in on every side, and shall lay her even with the 
 ground, and her children within her walls ; and they shall not leave in her 
 one stone upon another " (Luke xix. 43, 44). Andrew, astonished, rejoins : 
 "Why, Lord, will such a fate befall her?" "Because," answers Christ, with 
 a deep, mournful tone, " she knew not the day of her visitation (Luke xix. 44). 
 Alas ! this murderess of the prophets, she will also put to death the Messiah. 
 . . . . O Jerusalem, Jerusalem, which killest the prophets, and stonest them 
 that are sent unto thee, how often would I have gathered thy children 
 together, as a hen doth gather her brood under her wings, and ye would 
 not ! " (Luke xiii. 34.) The disciples are filled with sorrow at the thought of 
 their Master's proceeding to Jerusalem, as though foreseeing the fate that 
 awaits Him there. He bids Peter and John go to the city to prepare the 
 Passover lamb. To the rest of the disciples He says : " The hour is near in 
 which the Scriptures shall be fulfilled. Accompany me this day for the last 
 time to my Father's house. Let us now follow them to Jerusalem." 
 
 The Temptation of Judas. — During this scene Judas remains at one 
 side of the stage, gloomily brooding over the Saviour's words. He holds in 
 his hand an empty purse ; and his thoughts seem still burdened with Mary 
 Magdalene's useless expenditure of the three hundred pence. The future, 
 evidently, appears to him dark, unpropitious. He cannot understand why 
 Christ should leave them; and forebodingly reflects on the results that would 
 necessarily follow if this should come to pass. Finally, no longer able to 
 conceal his selfish fears, he draws near, and addresses the Saviour thus : 
 " But, beloved Master, permit me to suggest — If, indeed, thou dost intend to 
 leave us, do make some provision for our subsistence. See," he adds, hold- 
 ing up the purse, " this will not suffice for over a day longer." " O, Judas," 
 replies Jesus, "trouble not thyself more than is needful." Turning to the 
 others, He adds : " Let us go hence ; for I desire to enter once more the house 
 of God." Christ leaves the scene ; and, followed by His disciples, except 
 Judas, proceeds to the Holy City. Iscariot remains behind, struggling with 
 the terrible thoughts that have arisen in his mind. In a clear, nervous 
 soliloquy he gives utterance to the train of his ideas, and reveals the germ from 
 which his subsequent betrayal is to develop : — 
 
 And shall I follow ? I have half a mind. And gives us promise of a future bright 
 
 No roses there will ever bloom for me ! That in the distance gray grows dim and 
 Did not the great deeds of the Master once vague. 
 
 Raise hopes of Israel's ancient fame re- Long have I fed, too long, upon these 
 
 stored ? dreams, 
 
 But this great scheme he seems of late to And hope too long delay'd a loathing brings. 
 
 waive. To Him and His, what prospects are held 
 His words are all of parting and of death, out ? 
 
 He comforts us with dark, mysterious words, An abject state, and poverty forsooth — 
 
TOBIAS PLUNGER, 
 The Delineator of "■ Christ" in the year 1850. 
 
ACT IV.— CHRIST'S LAST JOURNEY TO JERUSALEM. 35 
 
 Ay, and a prison ! I will hie me hence ! For ceremony vain. O, were it mine, — 
 
 It is decided. I'll withdraw : but how ? That were provision for a rainy day ! 
 
 Ah ! now I miss that goodly, goodly sum Now for subsistence I must look about, 
 
 Of full three hundred pence, profusely And know not where ! 
 spent 
 
 Judas has sunk into deep meditation, which is soon followed by still 
 deeper agitation and doubt. He continues to struggle with his own conscience, 
 trying to decide what course to pursue when the spies sent by the Sanhedrim, 
 Dathan, and the other exasperated buyers and sellers of the Temple arrive. 
 Dathan succeeds easily in inducing Judas to accept the terms of the betrayal. 
 The traders then leave, to announce to Caiaphas the unexpected success of 
 their mission. Judas is once more left alone with his conscience, which still 
 gives some signs of life. The prevaricating disciple cannot forget the goodness 
 of the Master towards him. However, avarice gets the upper hand. The 
 unhappy man tries to calm his disquieted conscience by calling to mind the 
 miraculous power of Christ, trusting that He may yet recur to it to save Him- 
 self from His enemies. He gives utterance to the tumult and tossing of his 
 soul in the following monologue : — 
 
 My word and hand are pledged : and I feel ashamed the Master to confront, 
 
 from the deed For his keen, searching look will pierce 
 
 I cannot now retreat. Nor were it wise my soul, 
 
 To cast away this boon which fortune brings, And will upon my face read every thought. 
 
 That without trouble I so well can earn ! And all who follow him as I have done 
 
 My fortune's made. It cannot go amiss. Up to this day will know my heart is 
 
 I'll keep my promise, though I will be paid false.* * * 
 
 Down in advance : then let his priestly foes It is not so! "Traitor?" That loathsome 
 
 Proceed to capture him — and should he name 
 
 fall, I must not, will not bear! — Traitor? And 
 
 My ship is safely anchor'd with its store. yet 
 
 But if the Master should escape their hands, I do a harmless thing : the Council asks 
 
 As oft before, what then will be my fate ? At such an hour what the good Master 
 
 What shall I do ? Oh, I will cast me down dwells. 
 
 Repentant at his feet, for he is good. And if I tell : 'tis no betrayal false. 
 
 And will forgive me for the sin that's pass'd. Betrayal is — when any one attempts — 
 
 Nay, I can safely plead my act was wise — No more — Such whims do serve but to 
 
 By which the issue ripen'd. Any how, perplex. 
 
 I'll take good care to leave a bridge behind. This maxim, Judas, mark : Whoe'er will 
 
 That, should my forward path obstruction gain 
 
 meet. An object dear must nerve and muscle 
 
 I can return. The plan is well thought out. strain ! 
 
 Judas, a clever man thou art ? And yet 
 
 Thus speaking, Judas leaves the stage, taking the road which leads 
 towards Jerusalem. During the preceding transaction we have seen how the 
 germ of avarice gradually developed into a determination to betray the divine 
 Master for a reward in money. Devrient considers this scene one of the best,, 
 dramatically considered, of the entire performance. Another scene represents 
 the apostles John and Peter, at the house of Mark, in Jerusalem, whither they 
 were sent to prepare for the coming of Christ to celebrate the Last Supper. 
 
36 
 
 THE PASSION PLAY. 
 
 <f 
 
 Tableau I. 
 Tableau II. 
 
 ACT v.— THE LAST SUPPER. 
 
 The Lord sends manna to the Israelites in the wilderness. — Exodus xvi. 
 The grapes brought by the spies from Canaan. — Numbers xiii. 23. 
 
 HE Chorus again takes up its position upon the proscenium, and 
 the Choragus commences as follows : — " Our Divine Benefactor, 
 about to enter upon the career of His sufferings, urged by the 
 impulse of His infinite charity, provides spiritual nourishment for 
 His children during the time of their pilgrimage on earth. Being Himself pre- 
 pared to be a sacrifice, He institutes a sacrament that shall proclaim through 
 centuries and to the end of time His love for humanity. With the rain of manna 
 the Lord miraculously fed the children of Israel in the desert, and gladdened 
 their hearts with grapes from Canaan. But Christ offers us a better banquet, 
 one from very Heaven. From His mysterious body and blood grace and bliss 
 fiow upon humanity." The spectator is thus made acquainted with the 
 significance of the two tableaux prefacing the dramatic scene. After the 
 Choragus has given his lucid explanation, a sweet tenor voice sings the fol- 
 lowing few lines immediately relating to the dramatic scene : — 
 
 Nun nahert sich die Stunde, 
 
 Und die Erfiillung fangt sich an, 
 
 Was langst in der Propheten Munde 
 Der Herr der Menschheit kund gethan. 
 
 An diesem Volke, spricht der Herr, 
 Hab' ich kein Wohlgefallen mehr ; 
 Ich will nun keine Opfergaben 
 Von seinen Handen ferner haben. 
 
 Ich stifte mir ein neues Mahl : 
 Diess spricht der Herr : — und iiberall 
 Soil auf dem ganzen Erdenrunde 
 Ein Opfer sein in diesem Bunde. 
 
 The hour foretold of yore draws nigh. 
 And the fulfilment now takes place 
 
 Of what, by prophets, God most High 
 Announced in mercy to our race. 
 
 The Lord doth for this people grieve, 
 He finds in them no more delight ; 
 
 Nor can He from their hands receive 
 Their sacrificial offerings trite. 
 
 A covenant new the Lord this day 
 Doth make with all who do His will, 
 
 A feast wherein His people may 
 A purer sacrifice fulfil. 
 
 First Tableau. — The tableau representing the rain of manna in the 
 wilderness, which is now revealed, is amongst the finest of the entire Passion 
 Play. More than four hundred persons, including one hundred and fifty 
 children, the youngest of them being not quite three years old, are engaged 
 in forming the various groups of this exquisite picture. The Israelites stand 
 in dense crowds, the children in the foreground ; and back of the groups 
 youths and maidens appear. The mothers hold their babes in their arms, 
 whilst aged men fill up the rear. Moses, who is leading the Israelites 
 through the desert, is the most conspicuous figure, and is recognized by 
 means of golden rays upon his head. He holds a staff in his hand which 
 points towards Heaven. After him his brother Aaron, the high-priest, 
 occupies the most prominent position. Every hand is stretched out, and 
 every eye is directed towards Heaven, from which an abundant supply of 
 manna uninterruptedly falls. It comes lightly, like a gentle fall of snow. The 
 
ACT v.— THE LAST SUPPER. 
 
 37 
 
 little children in the foreground, standing with their innocent faces turned 
 ^ipwards, and holding out their baskets and aprons to catch the sweet food 
 before it reaches the earth, form a most attractive feature in the scene. While 
 the tableau is revealed, the Chorus sings a charming hymn of thanksgiving. 
 In the second stanza, when the curtain has fallen and the Chorus stand before 
 the audience, they explain the symbolic meaning of the picture as related to 
 the Holy Sacrament : — 
 
 Das Wunder in der Wuste Sin 
 
 !Zeigt auf das Mahl des neuen Bundes hin. 
 
 Gut ist der Herr, gut ist der Herr : 
 Das Volk, das hungert, sattigt er 
 
 Mit einer neuen Speise 
 
 Auf wunderbare Weise. 
 
 Der Tod doch rafifte alle hin, 
 Die assen in der Wiiste Sin 
 
 Diess Brod im Ueberflusse ; 
 Des neuen Bundes heilig Bred 
 Bewahrt die Seele vor dem Tod 
 
 Beim wurdigen Genusse. 
 
 From hands angelic see the manna flow, 
 And mysteries still deeper faith will show. 
 
 Proclaim it loud : the Lord is good, 
 He gives His hungering people food : 
 
 He, in a wondrous wise, 
 
 Rains manna from the skies. 
 
 Yet they are number'd with the dead, 
 Who 'mid such wondrous signs were fed : 
 
 Their names have pass'd away. 
 Not so who taste the bread of grace ; 
 They'll shun the ruin of our race 
 
 At the great Judgment Day. 
 
 Second Tableau. — Less effective, perhaps, is the tableau of the grapes 
 from Canaan, in which the same figures appear as in the preceding picture. 
 The messengers sent out as spies by Moses have returned from the land 
 ■" flowing with milk and honey." Two of their number bear upon a long pole, 
 resting on their shoulders, the ponderous cluster of grapes which they found 
 at Eshcol, and at the sight of which the Children of Israel stand in mute 
 astonishment. While the picture is exhibited, the Chorus explains its prin- 
 cipal bearings in song: — 
 
 Gut ist der Herr, gut ist der Herr ! 
 Dem Volke einstens hatte er 
 
 Den besten Saft der Reben 
 
 Aus Kanaan gegeben. 
 
 Doch diess Gewachse der Natur 
 War zum Bedarf des Leibes nur 
 
 Bestimmt nach Gottes Willen. 
 Des neuen Bundes heil'ger Wein 
 Wird selbst das Blut des Sohnes sein, 
 
 Der Seele Durst zu stillen. 
 
 Gut ist der Herr, gut ist der Herr ! 
 Im neuen Bunde reichet er 
 
 Sein Fleisch und Blut im Saale 
 
 Zu Salem bei dem Mahle. 
 
 Good is the Lord, good is the Lord ! 
 
 Once to His folk He did accord 
 The best fruit of the vine. 
 From Canaan's land divine ! 
 
 This luscious sap was sent, indeed, 
 To satisfy the mortal need : 
 
 Such was Jehovah's will. 
 But the new covenant's sacred wine 
 Will be the Son's own blood divine, 
 
 The spirit's thirst to still. 
 
 Good is the Lord who o'er us lives, 
 Within the covenant new He gives 
 His flesh and blood within 
 The hall at Salem's meal ! 
 
 The Last Supper. — The celebration of the Passover by Christ and His 
 disciples, and the instituting of the Sacrament of the Lord's Supper, possesses 
 a peculiar interest for all Christians. The lifted curtain reveals a chamber 
 in the house of Mark, into which the Saviour and all the disciples have just 
 entered. They are standing around the table ; while the master of the house 
 and his servant stand at some distance, ready to attend to the wants of their 
 
38 THE PASSION PLAY. 
 
 guests. The table is evidently a copy of the one in Leonardo da Vinci's cele- 
 brated picture of the Last Supper. The positions taken by the Lord and the 
 twelve, together with many other details, are also in imitation of Da Vinci's same 
 masterly production. After all are seated, Christ finds Himself in the centre, 
 with Peter at His right, and John to His left. To the right of Peter are seated 
 Judas, James the elder, Andrew, Thomas, and Simon ; and to the left of John, 
 are Bartholomew, Matthew, James the younger, Philip, and Thaddeus. These 
 positions, however, are frequently changed in the subsequent pictures. After 
 the washing of hands, and the lamb and wine have been placed upon the table,. 
 Christ begins by prayer: '' Father, my heart rises to Thee. These are Thy 
 gifts that I shall now partake of in peace ; oh, bless this food with Thy divine 
 blessing ! " To His disciples He says, " With desire I have desired to eat this 
 Passover with you before I suffer : for I say unto you, I will not any more 
 eat thereof, until it be fulfilled in the kingdom of God." (Luke xxii. 15, i6.)» 
 Christ then raises the cup in the same manner as the food, and again gives 
 thanks, saying : " Father, I thank Thee for this fruit of the vine ! " He then 
 passes the chalice to the disciples, adding : " Take this, and divide it among 
 yourselves: for I say unto you, I will not drink of the fruit of the vine, untiF 
 the kingdom of God shall come." (Luke xxii. 1 7, 1 8.) The disciples ask 
 the Master : " Lord, is it then the last time that thou wilt celebrate with us 
 the Passover? " He answers them ; " I will drink a new drink with you in 
 the kingdom of God, of My Father. Ye are they which have continued with 
 Me in My temptations. And I appoint unto you a kingdom, as My Father 
 hath appointed unto Me ; that ye may eat and drink at My table in My 
 kingdom, and sit on thrones judging the twelve tribes of Israel." (Luke xxii. 
 28,30.) 
 
 Then arises a dispute among the disciples about the place of honour in 
 the kingdom of the future, which they expect in the earthly sense. Jesus 
 does not answer their questions, but bids the host bring water and a towely 
 with which to wash the disciples' feet. The apostles, not having understood 
 Christ's words, are astonished, and ask, " What will he do ? " Christ places 
 a large white napkin about Him, and then addresses Peter : "- Peter, reach 
 hither thy foot." " How ? Lord," he exclaims, " dost thou wash my feet ? " 
 Christ answers : " What I do, thou knowest not now ; but thou shalt know 
 hereafter." Peter saith unto Him : " Thou shalt never wash my feet." Jesus 
 answers him : " If I wash thee not, thou hast no part with Me." Thereupon 
 Peter exclaims : " Lord, not my feet only, but also my hands and my head/" 
 Peter willingly removes his sandals, and the ceremony of the washing of the 
 feet is proceeded with. The apostle places a foot in the basin, the servant 
 pours water upon it from an earthen pitcher, and Christ wipes it with the 
 linen-cloth. In like manner the feet of all the disciples are washed, Judas- 
 even not being omitted. A peculiar solemnity is lent the occasion by per- 
 formances of the musicians, who are concealed from view. They sing the 
 following two stanzas of a beautiful composition of Daisenberger's, written 
 during the performances of the summer of 1871, and set to music by the 
 assistant school-teacher of the village : — 
 
^.a£-c/m/w.a:a. 
 
 JOSEPH MAIER AS '^CHRISTUS. 
 
ACT v.— THE LAST SUPPER. 39 
 
 "Behold the Lord and Saviour kneel, O let this deed which He did give 
 O tender love ! O mercy sweet ! To them be for us, too, a sign ; 
 
 Despising not, before the meal, To practice, while on earth we live, 
 To wash His loved disciples' feet. Such meekness and such love divine. 
 
 Having performed this act of humility, Christ returns the linen-cloth to 
 the master of the house, and John assists Him again in putting on His mantle. 
 "Now ye are clean," He then remarks, "yet not all!" These words seem 
 to go home to Judas's heart ; for he sits with his head resting in his hand, as 
 if still struggling with his conscience. Then follows the institution of the 
 Holy Sacrament. 
 
 Christ first takes the bread, and, lifting it towards Heaven, prays : " O 
 ^Father, give Thy blessing." He then breaks the food, and gives a portion of 
 it to the disciples in turn, first to Peter, and then to John, placing a piece on 
 the tongue of each, and saying : " Take, eat ; this is My body which is given 
 for you : this do in remembrance of Me." Judas, whom the Lord does not 
 pass by, gives visible marks of confusion, and even consternation, when his 
 turn comes. Christ then raises the cup, and, lifting His eyes towards Heaven, 
 ;gives thanks, and then hands it to them, saying: "Drink ye all of it; for 
 this is My blood of the new testament, which is shed for many for the remis- 
 sion of sins." (Matt. xxvi. 27, 28.) He Himself gives the cup to the dis- 
 ciples in succession, saying: "As often as ye do this, do it in remembrance 
 of Me." After the distribution of the Eucharist Christ resumes His seat. 
 The disciples are deeply moved and afflicted. The qualms of conscience 
 begin to be experienced by Judas ; John, the disciple whom Jesus loved, 
 sinks his head upon the Master's breast. Jesus again laments : " Verily I 
 say unto you, one of you which eateth with Me shall betray Me." (Mark xiv. 
 18.) "Master," simultaneously ask several disciples, "one of the twelve?'' 
 " Yea," responds Christ, " it is one of the twelve. He that dippeth his hand 
 with Me in the dish, the same shall betray Me." Even Judas ventures the 
 question : " Is it I ? " The remark has not escaped the ear of the Saviour, 
 who replies : " Thou sayest it." John ventures to put the request, but 
 almost in a whisper : " Lord, tell us who it is." And Christ answers him : 
 '* He it is to whom I shall give a sop when I have dipped it." Christ dips a 
 sop and gives it to Iscariot, saying : " Judas, that thou doest, do quickly." 
 
 Judas, now confused, and conscious that his guilt is discovered by the 
 Master, hastily rises from his seat and rushes out of the room. Christ utters 
 to the remaining eleven the memorable words recorded by the several Evan- 
 gelists : " Now is the Son of Man glorified, and God is glorified in Him. If God 
 be glorified in Him, God shall also glorify Him in Himself, and shall straight- 
 way glorify Him. Little children, yet a little while I am with you. Ye shall 
 seek Me ; but whither I go, ye cannot come." Then follows the assurance 
 of Peter, that he will give his life for the Master ; but Christ answers : " O 
 Simon ! Verily I say unto thee, that this night, before the cock crow, thou 
 shalt deny Me thrice." Christ speaks more of the fate that is suspended over 
 .Jerusalem, and concludes with solemn thanksgiving. The whole scene is 
 intensely devotional, solemn, and affecting. When Christ approaches the 
 
40 
 
 THE PASSION PLAY. 
 
 foreground, we see that He is deeply moved. He remains silent for awhile^ 
 His eyes raised towards heaven. The apostles stand around in perfect silence, 
 with faces full of sadness as they gaze upon their sorrowful Master. Christ 
 perceives their distress ; and, before leaving the apartment, attempts to 
 comfort them with these words : — 
 
 Whyareye all so mournful, dearest children? 
 Why gaze so sadly on your Lord? Let not 
 Your hearts be troubled: ye believe in God, 
 Believe also in Me. My Father's house 
 Hath many mansions, and I go before, 
 There to prepare a dwelling unto you. 
 And I will come again, and you receive 
 Unto Myself, that where I am, ye be. 
 For I would leave you not as orphans here. 
 Peace I leave Avith you — yea. My peace I 
 give: 
 
 Not as the world gives — give I it to you. 
 
 Keep, O My children, My commands, that 
 ye 
 
 Love one another, as I you have loved. 
 
 Hereafter I will not talk much with you. 
 
 The prince of this world cometh and he hatb. 
 
 Nothing in Me. But that the world may- 
 know 
 
 That I do love the Father, and as He 
 
 Gave Me commandment, even so I do. 
 
 Arise, My children, let us go from hence.. 
 
 ACT VI.— THE BETRAYER. 
 
 Tableau. Joseph Sold to the Midianites for twenty pieces of silver. — Gen. xxxvii. 
 
 HE Old Testament type of the betrayalof Christ by Judas Iscariot 
 is the selling of their brother Joseph to the Ishmaelite merchants- 
 by the sons of Jacob. This is the subject, which presented in the 
 form of a tableau vivant, introduces the present act. The Choragus. 
 thus explains the relation of the tableau to the act which is to follow : — 
 
 '■^Alas .' false friends have now united with the declared enemies of Jesus. A 
 Jew pieces of silver suffice to efface all love and fidelity from the heart of Iscariot. 
 Abandoning all, this ungrateful wretch proceeds to make the most shameful 
 bargain ; he sells for filthy lucre— the reward of treachery — the best of masters. 
 Similar feelings, alas .' once possessed the sons of Jacob, when they mercilessly 
 sold their own brother for an accursed price to the foreign usurers. When the 
 heart pays homage to the idol of lucre, all the nobler feelings are deadened/ 
 honour becomes venal, and therewith a man's word, love and friendship.'^ 
 
 The Chorus continues in song, denouncing selfishness and usury, and 
 would fain restrain Judas from accomplishing his fell deed: — 
 
 Wie schaudert's mir durch alle Glieder ! 
 Wohin ? wohin, O Judas ! voller Wuth ? 
 Bist du der Schurke, der das Blut 
 
 Verkaufen wird? Gerechte Rache, saume 
 
 nicht — 
 Ihr Donner — Blitze sturzet nieder — 
 Zermalmet diesen Bosewicht ! 
 
 Von Euch wird Finer mich verrathen ! 
 Und dreimal sprach der Herr diess Wort. 
 Vom Geiz verfiihrt zu schwarzen Thaten, 
 Lief einer von dem Mahle fort ; 
 Und dieser Eine — heil'ger Gott ! — 
 1st Judas, der Iskariot. 
 
 How quake my limbs beneath the spell ! 
 O whither, Judas, torn with rage away ? 
 Art thou he who the blood will sell ? 
 O vengeance just, do not delay ! 
 
 Ye thunders, lightnings, quick descend,. 
 
 And this incarnate demon rend ! 
 
 " One in our midst will Me betray ! " 
 Thus spake the Lord to th' chosen few 
 And avarice led that one astray 
 To deeds commit of darkest hue. 
 
 And this one man, O sacred God, 
 
 Was Judas, the Iscariot. 
 
ACT VI.—THE BETRAYER. 
 
 41 
 
 Ach Judas ! Judas — welche Siinde ! — 
 Vollende nicht die schwarze That ! 
 Doch nein — vom Geize taub und blinde, 
 Eilt Judas fort zum hohen Rath. 
 Und wiederholt voll bosem Sinn 
 Was einst geschah zu Dothain. 
 
 Oh, Judas, Judas, have a mind ! 
 
 O, do not do the deed, we cry ! 
 
 But avarice makes him deaf and bhnd. 
 
 He hurries to the Council High, 
 
 And there repeats with mind profane," 
 What once took place on Dothan's plai 
 
 Tableau. — The tableau revealed is the continuation of one exhibited in 
 the second act of the Play, and showing the sons of Jacob when they decided 
 to cast their brother Joseph into a well. The fruitful plains of Dothan appear 
 in the distance. In the foreground are assembled the brothers; two of them 
 are concluding the sale of blood with the merchants, the stump of a tree 
 serving as a table on which to transact the business. Young Joseph stands, 
 stripped of his garment of many colours, apparently in the act of defending 
 himself from the brutality of one of his own brethren. The Chorus sings the 
 story of the picture: — 
 
 ** Good merchants, tell us if, forsooth, 
 You are disposed this hearty youth 
 
 To purchase with your gold ?" 
 The men consent ; and, at the sight 
 Of twenty silver pieces bright, 
 
 Young Joseph's life is sold. 
 
 *' What will you give ? What is my pay ? " 
 Iscariot says, '* if I betray 
 
 The Lord into your hands ? " 
 For thirty silver pieces he 
 Concludes the bloody work, and see, 
 
 Jesus a captive stands ! 
 
 And what this scene reveals to you 
 Is of the world a picture true ! 
 
 How often by your deeds untold 
 
 Have you your God betray'd and sold ? 
 Ye curse good Joseph's brothers here. 
 And over Judas judge austere. 
 
 Yet walk their ways remiss ; 
 For envy, avarice, brothers' hate 
 Destroy man's peace on earth's estate. 
 
 And happiness and bliss ! 
 
 Was bietet fiir den Knaben ihr ? 
 So sprechen Briider, wenn euch wir 
 
 Ihn kauflich iibergeben ? 
 Sie geben bald um denn Gewinn 
 Von zwanzig Silberlingen hin 
 
 Des Bruders Blut und Leben. 
 
 Was gebet ihr ? — wie lohnt ihr mich ? 
 Spricht der Iskariot, wenn ich 
 
 Den Meister euch verrathe ? 
 Um dreissig Silberlinge schliesst 
 Den Blutbund er, und Jesus ist 
 
 Verkauft dem hohen Rathe. 
 
 Was diese Scene uns vorhalt, 
 Ist ein getreues Bild der Welt. 
 
 Wie oft habt ihr durch eure Thaten 
 
 Auch euren Gott verkauft — verrathen ! 
 Den Brlidern eines Joseph hier, 
 Und einem Judas fluchet ihr, 
 
 Und wandelt doch auf ihren Wegen ; 
 Denn Reid und Geiz und Bruderhass 
 Zerstoren ohne Unterlass 
 
 Der Menschheit Frieden, Gliick und 
 Segen. 
 
 Judas before the Sanhedrim. — The plot laid by the Sanhedrim is suc- 
 cessfully carried out by the Temple-traders, who, as seen in the preceding act, 
 win Judas by appealing to his avarice. Iscariot, filled with traitorous thoughts, 
 absents himself from the Passover meal, and, as previously agreed, hurries to 
 meet his new friends, in order to secure his reward before commencing the 
 shameful work. Previous to the appearance of the betrayer, however, another 
 meeting of the Sanhedrim, more wild and tumultuous than the former one, is 
 shown. The two high-priests Caiaphas and Annas, preside ; the priests, the 
 pharisees and rabbis, are those who were present before, with the addition of 
 two new members, Nicodemus and Joseph of Arimathea, who are respectively 
 
42 THE PASSION PLAY. 
 
 seated at the extreme right and left, and destined to play a significant rote in 
 the future scenes. The members await the arrival of Judas. They strive to 
 excel each other in expressing their desire for revenge, and in ridiculing Jesus, 
 only Nicodemus and Joseph of Arimathea speaking in his favour. Their ex- 
 pressions call out the wrath of Caiaphas, who declares them to be unworthy 
 to remain in the assembly. Now Judas appears, with his empty money-bag, 
 which he hopes to replenish by the betrayal of his Master. While the priests 
 are bargaining with him, one of the high-priests asks him if he will not later 
 regret his action ? This question leads the traitor's mind back again to the 
 costly ointment, the three hundred pence, the empty treasury, and the re- 
 proaches of the Lord. The members of the Council assure him that he is in 
 the right to take care of himself They finally agree to give him thirty pieces 
 of silver for the betrayal, and the money is sent for out of the treasury of the 
 Temple. Again does Nicodemus protest ; he and Joseph of Arimathea will 
 have no participation in the deed of blood, and leave the room, highly indig- 
 nant, the other members crying after them that they should join the society 
 of the Galilean. A rabbi then returns with the blood-money. The Council 
 asks Judas to receive his reward. " I am contented," he answers, " and now 
 I can make good my loss." With these words he steps hastily forward to the 
 table, counts, and tries attentively every piece of silver as it is paid out to him, 
 as if distrusting their genuineness. The scene is one of the finest dramatic 
 pictures of the entire play. After all the money has been firmly secured in 
 Judas's money-bag, the Council says to him, "Now thou hast thy reward ; now 
 hasten thee ! " " To-day," he answers, " he shall be in your hands." He then 
 reveals his plan, desiring the aid of soldiers in order to fall upon Jesus by 
 night, near the brook Kedron. He tells them the sign he will give, i.e., the 
 kiss. All his demands are granted : the dealers of the Temple determine, 
 however, not to lose sight of Judas until the deed is accomplished, and Annas 
 regrets that his old age and weakness prevent him from accompanying the 
 betrayer. The members of the High Council depart with the cry of revenge : 
 " Let him die ! let him die ! He is the enemy of our fathers ! " 
 
 ACT VIL— THE GARDEN OF GETHSEMANE. 
 
 Tableau I. Adam condemned to earn his bread by the sweat of his brow. — Gen. iii. 17. 
 Tableau IL The Rocks of Gibeon ; Joab's treachery to Amasa. — 2 Samuel xx. 9. 
 
 'FTER the Last Supper we are told in the sacred narrative, Christ 
 went with his disciples over the brook Kedron, unto a place called 
 Gethsemane. The present act takes us to the eventful garden, 
 the scene of Christ's mental anguish and tribulation at his ap- 
 proaching sufferings, as well as of the act of betrayal by Iscariot. These twp 
 events of the Saviour's life are introduced as usual by Old Testament 
 types : the first, representing Adam condemned to earn his bread by the sweat 
 of his brow, typifying Christ's bloody sweat in the garden on Olivet ; the 
 
ACT VII.— THE GARDEN OF GETHSEMANE. 43 
 
 second, Joab giving Amasa a kiss whilst secretly plunging a dagger into 
 his body, an Old Testament parallel to the kiss given by Iscariot to his 
 Master. The Choragus addresses the audience on the relation of type 
 to fulfilment : " As the getting of bread by the sweat of his brow — a punish- 
 ment^ alas! for his own guilt — bore down Adam's exhausted strength., so 
 do the sins of humanity press heavily upon the heart of the Saviour. Borne 
 down by the immensity of His grief His head crushed to the ground by the pon- 
 derous burden of human sin, His countenance covered with sweat of blood, He 
 fights the terrible fight on Olivet. Already we see the leader of the myrmidons 
 approaching, the traitorous disciple, Iscariot, who shamefully abuses that love 
 which the Saviour has always shown him, by accepting the hangman task of be- 
 trayal. Joab, likewise, committed a similar treachery towards Amasa ; for, 
 while with hypocritical mien he gave him the kiss of friendship on the cheek, he 
 plunged the dagger s point into his heart." The Chorus explains in song the 
 nature of the scene to be enacted as follows : — 
 
 Judas, ach ! verschlang den Bissen Judas, ah, the morsel swallow'd, 
 
 Bei dem Abendmahle At the holy sacrament, 
 
 Mit unheiligem Gewissen — With a conscience all unhallow'd, 
 Und der Satan fuhr sogleich in ihn. — Satan did his soul ferment. 
 
 Was du thun willst, sprach der Herr, " What thou doest," the Lord did say, 
 Judas! — dieses thu' geschwind. — Under "Judas, do quickly." And away 
 
 Eilte aus dem Speisesaale He hurried from the evening meal 
 
 In die Synagoge hin To th' synagogue, with miser zeal ; 
 
 Und verkaufte seinen Meister. And there he sold his Master good- 
 
 Our Saviour — for the price of blood 
 
 Bald ist vollbracht — bald ist vollbracht. 'Twill soon be done, 'twill soon be done. 
 
 Die schrecklichste der Thaten, The deed most dire and fell ; 
 
 Ach ! heute noch, in dieser Nacht Before this day its course hath run — 
 
 Wird Judas ihn verrathen, Judas his Master sell ! 
 
 O kommet Alle, — kommet dann, O come, ye faithful ones, O come, 
 
 Und sehet mit die Leiden an. And see with us the Sufferer's doom ! 
 
 Im Schatten erst — und bald im Lichte In shadows first, and then in light, 
 
 Erscheinet sie — We here shall see 
 
 Die traurigste Geschichte The story old, as dark as night — 
 
 Von Gethsemani. Gethsemane. 
 
 First Tableau. — Gethsemane is typified by the tableau of labouring 
 Adam. The scene is a dreary wilderness, producing thorns and thistles in abun- 
 dance. Adam, clothed with the skin of a sheep, is engaged in laborious tilling 
 of the ground. Just as the curtain is raised, he is seen resting for a moment, 
 and despairingly pressing his strong hand upon his brow, which is covered 
 with perspiration. Even his children have to bear the fruits of the curse. 
 Three of the older ones are pulling thorny stocks out of the ground ; a task 
 which apparently takes all their strength. To the left is the grieving mother, 
 Eve. She is seated on a rock, and holds her youngest child in her lap ; 
 whilst close beside her, an older one holds a luscious apple in his hand. 
 Another child is hacking the ground ; still another little innocent one is 
 playing with a lamb. The picture is artistic, and exceedingly effective, not- 
 
44 THE PASSION PLAY. 
 
 withstanding few anachronistic improprieties of its details. While it is 
 revealed the Chorus sings of its symbolical teachings : — 
 
 O wie sauer, O wie heiss, See how here the scorching beams 
 
 Wird es Vater Adam nicht ! Father Adam's woes enhance ! 
 
 Ach ! es fallt ein Strom von Schweiss While hot perspiration streams 
 
 Ueber Stirn und Angesicht. Down his brow and countenance. 
 
 Dieses ist die Frucht der Siinde, This is the fruit of sin ! 
 
 Gottes Fluch driickt die Natur ; Upon the earth God's curse doth rest : 
 
 Darum gibt bei saurem Schweisse And though man tries in weary toil 
 
 Und bei miihevollem Fleisse To wring subsistence from the soil, 
 
 Sie die Friichte sparsam nur. It sparely yields its fruits at best. 
 
 So wird's unserm Jesus heiss. And thus were Jesu's woes increased, 
 
 Wenn er auf dem Oelberg ringt, Which on the Olive Mount he bore ; 
 
 Dass ein Strom von blut'gem Schweiss A stream of bloody sweat ne'er ceased 
 
 Ihm durch alle Glieder dringt. To flow from ev'ry limb and pore. 
 
 Dieses ist der Kampf der Siinde, This is the fight of sin ! 
 
 Fiir uns kampfet ihn der Herr, With sin the Lord for us did fight, — 
 Kampfet ihn in seinem Blute, He fought it with His blood so dear, 
 
 Zittert, bebet ; doch mit Muthe He trembled, quaked, but without fear 
 
 Trinkt den Kelch der Leiden er. The cup of sorrow drank outright. 
 
 Second Tableau. — The second tableau represents the story of Joab's 
 treachery towards Amasa, as told in 2 Samuel xx. King David had commanded 
 Amasa to assemble the men of Judah. Amasa, however, tarried longer than the 
 set time allotted him; and David, fearing that Sheba would thereby gain time to 
 " get him fenced cities and escape," ordered Joab to follow him, and get the men 
 of Judah together. "At the great stone which is in Gibeon," he found Amasa, 
 and advanced toward him, to give him the customary greeting, intending the 
 while to slay him, in order to secure the command himself " Art thou in 
 health, my brother ? " he asked Amasa, his rival, who apprehended nothing. 
 " And Joab took Amasa by the beard with the right hand to kiss him. But 
 Amasa took no heed to the sword that was in Joab's hand ; so he smote him 
 therewith in the fifth rib, and shed out his bowels to the ground, and struck 
 him not again, and he died." The scene represents the barren rocks of 
 Gibeon, under whose shade the soldiers of the two leaders are resting. Joab 
 and Amasa are apparently embracing, while, in truth, the former, feigning to 
 give his rival the kiss of friendship, is plunging the murderous weapon into 
 his body. The Chorus sings the deep moral lesson of this tableau, its refer- 
 ence to the betrayal by Iscariot, alternating with a second chorus concealed 
 back of the rocks. The effect produced is as if the rocks of Gibeon were 
 made to denounce the treachery committed in their friendly shade : — 
 
 Den Auftritt bei den Felsen Gabaon — The scene that once cook place near Gibeon 
 
 Den wiederholet Judas — Simons Sohn. Doth here repeat Iscariot, Simon's Son. 
 
 Chorus. 
 
 Ihr Felsen Gabaon ! Ye rocks of Gibeon ! 
 
 Warum steht ihr ohne Zierde — Why shorn of verdure do ye gloomy stand? 
 
 Sonst des Landes stolze Wiirde — Ye, once the pride and boast of all the land, 
 
 Wie mit einem Trauerflor umhiillet da ? As if in mourning ye had veil'd your face ? 
 
 Saget, ich beschwor' euch, saget : Was Tell, I beseech you. What took place ? 
 geschah ? Was geschah ? What took place ? 
 
ACT VII.— THE GARDEN OF GETHSEMANE. 
 
 45 
 
 Echo from the Rocks. 
 
 Flieht, Wanderer ! flieht schnell von hier; 
 Verflucht sei dieser blutgediingte Ort ! 
 Da fiel von einer Meuchlersliand durchbohrt 
 
 Ein Amasa, 
 Bertrauend auf der heil'gen Freundschaft 
 
 Gruss — 
 Getauscht durch Joabs falschen Bruderkuss. 
 
 O ruft in uns're Stimme : — Der Fluch sei 
 
 dir! 
 Die Felsen klagen iiber dich ; 
 Die blutgediingte Erde rachet sich. 
 
 Flee, wanderer, flee ! Flee quickly from 
 
 this gloom ! 
 Accursed is this blood-stain'd spot of land. 
 Here fell, transpierced by a foul murderer's 
 
 hand, 
 
 One Amasa. 
 Too fondly he a greeting friend believed. 
 And Joab's thrust with his embrace received ! 
 
 O cry with us together : The curse be thine ! 
 The towering rocks in wrath complain of 
 
 thee! 
 The blood-stain'd earth cries out revenged 
 
 to be! 
 
 Chorus. 
 
 Verstummet, Felsen Gabaon, mit eurer 
 
 Stimme, 
 Und hort, und spaltet euch vor Grimme, 
 Ihr Felsen Gabaon ! 
 So verrath den Menschensohn. 
 Ach ! mit heuchlerischem Grusse 
 Und mit einem falschen Kusse 
 Als der Fiihrer einer Rott' 
 Judas, der Iskariot. 
 Ihr Felsen Gabaon : 
 Vernehmet unsem Schwur, 
 Und fluchetdiesem ScheusalderNatur! 
 
 Ihm fluch t das ganze Erdenrund, 
 Eroffne, Erde, deinen Schlund ! — 
 Verschlingeihn ! — der Holle Feu'r 
 Verzehre dieses Ungeheu'r ! 
 
 Be silent, rocks, your wrathful voice assuage. 
 And list to us, nor rend yourselves with rage. 
 
 Ye rocks of Gibeon ! 
 Like as this treachery here was done, 
 Betray'd is thus God's only Son. 
 
 The leader of a wicked plot, 
 
 Judas, the Iscariot, 
 Doth give, with hypocritic mien. 
 To Him the traitor's kiss unclean ! 
 
 Ye rocks of Gibeon ! 
 O listen to our solemn oath, 
 And curse this monster all things loath ! 
 
 The globe entire pours curses forth 
 On him : O ope thy abysm Earth ! ' 
 Swallow him ! — and thou, hell-fire ! 
 Consume, eat up, the monster dire ! 
 
 Gethsemane. — A single dramatic scene, exhibited on the proscenium, 
 prefaces the representation of Christ's tribulation in the garden of Gethsemane. 
 Led by the betrayer, the trader Dathan, the four priests and some Roman 
 soldiers, pass hurriedly across the stage, on their mission of treachery. This 
 scene is the prelude to Gethsemane. The curtain being raised, the scene on 
 the Mount of Olives is revealed — a garden extending far in the background 
 of the stage. To the right is a slight elevation ; to the left are lov^ rocks and 
 shrubs. Jesus, with His disciples, enters it, conversing, taking Peter, John 
 and James with Him, and bidding the others remain at the entrance. Coming 
 nearer. He says, " My soul is sorrowful unto death : tarry ye here, and watch ! " 
 Overcome by anguish at His approaching death, He goes forward a little, and 
 kneeling down, prays, full of earnestness, " Abba, Father, all things are pos- 
 sible unto Thee ; take away this cup from Me : nevertheless, not as I will, but 
 as Thou wilt." After this prayer, Christ returns to the three, but finds them 
 all asleep. He admonishes them in a friendly manner, and full of love, to 
 watch and pray with Him. Three times He prays ; three times He repeats 
 the admonition to His disciples. After Christ has risen from the third prayer. 
 His countenance is seen with blood coursing over it ; and during that scene 
 
46 THE PASSION PLAY. 
 
 an angel is seen over Christ's head, giving Him assurance. After ending the 
 third prayer, He returns to the three disciples, and finds them still sleeping ; 
 but He simply greets them with the w^ords : " Sleep on now, and take your 
 rest." Peter rouses sufficiently to ask : " What is it. Master ? " All three 
 then arise, saying: " See, we are ready ! " " Behold ! " Christ answers, " the 
 hour is at hand, and the Son of Man is betrayed into the hands of sinners. 
 Arise, let us be going." 
 
 The catastrophe is approaching. The clang of arms is heard in the 
 distance, and the disciples whom Christ has left in the background spring 
 terrified to their feet. They hasten towards Christ, as if to seek safety in 
 Him who has so long fed, clothed, and protected them. But He says to them ; 
 *' Behold, he is at hand that doth betray me." And, while the disciples are 
 anxiously gathering about the Lord, the Roman soldiers, led by Judas, appear 
 in the background of the garden. The priests and pharisees, bearing lanterns 
 and torches, the traffickers and the soldiers, now come into full sight. Judas 
 hastens on before them ; and, approaching Jesus, who is standing in the midst 
 of the disciples, exclaims : "O Rabbi, be thou greeted!" and he kisses Him. 
 Christ, in simple earnestness, answers : " Wherefore, O friend, art thou come? 
 Judas, Judas, thou betrayest the Son of Man with a kiss ! " Christ advances 
 with wonted majesty toward the soldiers, and asks them in a loud voice : 
 "Whom seek ye?" They shout defiantly, and as one man: "Jesus of 
 Nazareth ! " "I am He ! " He calmly answers. At these words they are cast 
 to the ground as if by some invisible power. Soldiers and priests are struck 
 with consternation. But Christ, aware that the will of the Father must be 
 fulfilled, says to the hirelings : "Be without fear? Arise ! Whom seek ye?" 
 
 The Roman captain of the guard, thereupon, commands his men to seize 
 the Saviour ; and Malchus, with some of his comrades, advances to execute 
 the order. Christ submits to be bound, but Peter draws his sword and cuts 
 off the ear of Malchus. Christ, however, restrains the disciple ; and says to 
 Malchus : " Have no fear about thine ear. Thou art healed." To Peter he 
 says, " Put up again thy sword into its place : for all they that take the sword 
 shall perish with the sword. Shall I not drink the cup which the Father 
 hath given me to drink? Thinkest thou that I cannot now pray to my Father, 
 and He shall presently give me more than twelve legions of angels. But how 
 then shall the Scriptures be fulfilled, that thus it must be." The soldiers 
 surround the Saviour, and the captain bids them : " Bind Him fast, so that 
 He do not escape us." Christ gives Himself up without resistance. The 
 disciples steal away from the scene, one by one, leaving the Master alone. 
 Amid mockery and abuse the Saviour is taken from view. 
 
 The soldiers have scarcely disappeared from the scene before the dis- 
 ciples Peter and John emerge from where they have found concealment 
 during their Master's capture. They have witnessed Him bound and led away 
 in chains, and now lament His fate. "Alas," exclaims Peter, "they have now 
 taken Him away — our Friend, our beloved Teacher ! I cannot comprehend 
 what has taken place ! " Overcome with emotion, he buries his face in the 
 bosom of his youthful companion, and weeps. And with him many among 
 
ACT VIII.— JESUS BEFORE ANNAS. 47 
 
 the audience. Here follows this touching dialogue between the two dis- 
 ciples : — 
 
 John. Peter. 
 
 Is this His end ? I will follow Him. 
 
 My Friend, my Teacher, who hath done O say, John ! where, then, have they 
 
 but good, dragged the Lord 
 
 Hast Thou this treatment and this fate And Master in His fearful chains? O 
 
 deserved ? where ? 
 
 Insult, betrayal ! — O the thanks of man ! John. 
 
 Ne'er, ne'er on earth was such an one, and 
 
 now Hast thou not heard? To th' house of 
 
 He is in fetters ! Annas— come— 
 
 Let us go there together. 
 
 A pause of an hour is introduced at this point, in order that players and 
 spectators may partake of refreshment. The drama has already lasted four 
 hours, and full four more must elapse before the close. The majority of the 
 spectators hasten to the homes of the village, to secure their noonday meal ; 
 but many there are who require neither food nor drink during this interval, 
 which they consecrate to calm reflection on the great, heart-moving scenes 
 that have been witnessed. They feel themselves elevated into a state of mind 
 in which they prefer to remain to the end. The impression of all that has 
 been witnessed makes many hearts full to overflowing. " The Saviour," says 
 Devrient, " is alone. Peter, who promised to stand by Him till death, could 
 only draw his sword once ; and John, who had Jaid his head so tenderly upon 
 the Master's bosom, saying, ' Where thou art there I shall be,' has fled too. 
 Christ goes alone, filled with immeasurable love, to die for the very men 
 who are abusing Him. His intense, solitary grandeur, first gave me the true 
 idea of the power of dramatic art." 
 
 SECOND DIVISION. 
 
 FROM THE CAPTIVITY IN GETHSEMANE TO THE 
 RESURRECTION AND ASCENSION. 
 
 ACT VIII.— JESUS BEFORE ANNAS. 
 
 Tableau. Zedekiah smites the prophet Micaiah on the cheek. — i Kings xxii. 24. 
 
 HE firing of the cannon planted in the meadow beneath the Kofel 
 announces that the drama is about to be resumed. At the third 
 detonation the spectators are again in their places. The rays of 
 the sun now come with great force upon the audience. Sweet, 
 melancholy strains announce the approaching Passion. In the morning 
 
48 
 
 THE PASSION PLAY. 
 
 we followed the Redeemer step by step from His triumphal entry into 
 Jerusalem up to His betrayal and captivity ; in the afternoon we follow Him 
 to His crucifixion and death ; and, later, to the wondrous scenes of His resur- 
 rection and ascension. 
 
 The first scene represented in the afternoon is that wherein Christ is 
 brought by the priests and soldiers before Annas. The blow there given him 
 on the cheek by one of the high-priest's, servants, because He would not 
 answer, is typified by a tableau representing Zedekiah striking the prophet 
 Micaiah on the cheek because he dared to tell King Ahab the truth. The 
 significant reference of this plastic picture is thus explained by the Choragus : 
 " O, the fearfulness of this night ! Behold the Saviour ! See him dragged 
 about from court to courts and everywhere shamefully abused. For a courageous 
 word which the Redeemer answers to Annas, He is rewarded by a wretch who 
 brutally strikes Him in the face, in the hope of thus gaining himself praise. 
 Micaiah, too, received the same ignominious treatment for revealing the truth 
 to King Ahab. Truth, alas/ is but too frequently rewarded with hatred and 
 persecution. Still, however much its light may be shunned or banished, it will 
 prove victorious at last, and illuminate the darkness." The entire Chorus sings 
 of the approaching sufferings of the Saviour: — 
 
 Begonnen ist der Kampf der Schmerzen- 
 
 Begonnen ist Gethsemani. 
 O Sunder ! nehmet es zu Herzen 
 
 Vergesset diese Scene nie ! 
 Fur euer Heil ist das geschehen, 
 Was auf dem Oelberg wir gesehen. 
 
 Fur euch betriibt bis in den Tod 
 Sank er zur Erde nieder, 
 
 Fur euch drang ihm, wie Blut so roth, 
 Der Schweisz durch alia Glieder. 
 
 Begonnen ist der Kampf, «&c. 
 
 Begun, the fight of anguish sore, 
 
 Begun is now Gethsemane ; 
 O sinner, ponder calmly o'er 
 
 The lessons of this agony. 
 These scenes of pain on Olive's Mount 
 
 Were borne by Christ on your account. 
 For you, the blood-like sweat did steep 
 
 His every limb at every breath ; 
 For you, press'd down in sorrow deep. 
 
 He suffer'd till He sank in death. 
 Begun, the fight of anguish sore, &c. 
 
 Tableau. — The tableau is revealed, showing a hall with two thrones : on 
 the one sits Ahab, king of Israel ; on the other Jehoshaphat, king of Judah. 
 King Ahab had allied himself (i Kings xxii.) with Jehoshaphat against the 
 king of Syria, and had determined to inquire of his prophets as to the pro- 
 bable success of such an expedition. " Shall I go against Ramoth-gilead to 
 battle ? " he asked of the prophets of Baal, " or shall I forbear ?" And they 
 said, " Go up ; for the Lord shall deliver it into the hands of the king." But 
 Jehoshaphat inquired for a prophet of the Lord, and Micaiah was sent for. 
 But this prophet told the king of Israel that the Lord had put a lying spirit in 
 the mouth of all these prophets, and that the Lord had spoken evil concerning 
 him, and prophesied the monarch's death. It was for this that the enraged Ze- 
 dekiah smote him on the cheek. The prophet of Baal is represented as a small, 
 deformed and repugnant figure, as a striking contrast to the venerable 
 Micaiah, according to the characteristic of the Ammergauers in contrasting 
 good and evil. While the picture is revealed the Chorus sings: — 
 
ACT VIIL— JESUS BEFORE ANNAS. 
 
 49 
 
 Wer frei die Wahrheit spricht, 
 Den schlagt man in's Gesicht. 
 Michaas, er wagte es die Wahrheit laut 
 
 zu sagen 
 Und ward in's Angesicht geschlagen. 
 
 Konig, du wirst unterliegen, 
 Solltest Ramoth du bekriegen, 
 
 Diess ist, was Michaas spricht. 
 Dich von Ungliick dann zu retten, 
 Glaube, Konig, Baals Propheten — 
 
 Dieser Schmeichler Ltigen nicht ! 
 
 Doch die Wahrheit des Michaas 
 Schmeichelt einem Achab nicht ; 
 
 Und der Liigner Sedekias 
 
 Schlagt dafiir ihn in's Gesicht. 
 
 Liigner, Heuchler, Schmeichler pfliicken 
 Rosen, Lorbeer ohne Miih' ! 
 
 Nur die Wahrheit muss sich biicken, 
 Denn die Wahrheit schmeichelt nie. 
 
 Jesum iiber seine Lehren, 
 Seine Thaten zu verhoren, 
 
 Raumt das Recht sich Annas ein. 
 Um zu wissen, was ich lehrte, 
 Frage Jeden, der mich horte, 
 
 Wird die Rede J esu sein. 
 
 Doch die Wahrheit auf die Fragen 
 Schmeichelt einem Annas nicht ; 
 
 Und die Unschuld wird geschlagen — 
 Jesus in das Angesicht. 
 
 Who dares the truth to speak 
 
 Must bear the smitten cheek ! 
 
 Micaiah dared to speak the truth out bold; 
 
 For this was smitten on the cheek, behold ! 
 
 "■ O King, should Ramoth lead the fight, 
 Thine hosts in battle he will smite." 
 
 Thus said Micaiah wise : 
 " Heed not what Baal's prophets teach, 
 With wily tongue and subtle speech, 
 
 Heed not their flattering lies." 
 
 But the truth of good Micaiah 
 Did not find with Ahab grace, ' 
 
 And the liar Zedekiah 
 
 Smote him rudely on the face. 
 
 Flatterers, liars, hypocrites, 
 
 Eas'ly pluck them laurels high ; 
 
 Only truth to stoop submits ; 
 For the truth can never lie ! 
 
 Who unto Annas doth the right permit 
 In judgment o'er the Lord supreme to sit ? 
 "To know what I have said;" the Lord 
 
 doth say, 
 "Ask those who heard my teachings day 
 
 by day." 
 
 But the truth, so it is written. 
 Made with Annas no advance ; 
 
 Innocence was here too smitten — 
 Jesus on the countenance. 
 
 Christ before Annas. — After the Chorus has disappeared, we see the 
 high-priest Annas on the balcony of his house. He is impatiently awaiting 
 the Roman soldiers with the captive Nazarene. He is greatly pleased at 
 their success so far, and blesses the hour in which he first heard of Christ's 
 capture. He cries out to Judas, who has passed by with a number of others, 
 *' Thy name shall stand in our annals for all time." But Judas begins to 
 evince a palpable dislike to the business he has got into ; he begins to tremble 
 at what he has done, fears for the future, and will not bear upon himself any 
 responsibility, saying, " I will not be answerable for his blood." The others 
 answer, ironically, " He is now in our power." In the meantime we hear loud 
 mockery and laughter. The Roman soldiers appear with the bound Saviour, 
 and press Him forward with great brutality. The procession stops before the 
 house of Annas, and Jesus is led upon the balcony, while the infuriated mul- 
 titude remains below. The hearing commences ; but Christ refuses to answer 
 all the questions put to Him by Annas. When asked why He will not speak, 
 He answers, with great dignity: "I spake openly to the world; I ever taught 
 in the Synagogue, and in the Temple, whither the Jews always resort ; and 
 in secret have I said nothing. Ask them which heard me what I have said 
 unto them: behold, they know what I said." (John xviii. 20, 21.) It is 
 then that Bulbus strikes the captive in the face, saying: "Answerest thou the 
 
50 THE PASSION PLAY. 
 
 high-priest so?" (v. 22.) With calm majesty Christ turns towards the rude 
 offender, yet without looking at him, and says : " If I have spoken evil, bear 
 witness of the evil: but if well, why smitest thou me?" (v. 23.) The calm 
 dignity and self-possession maintained by Jesus enrages Annas, who excitedly 
 asks his captive : " Still wilt thou bid us defiance, even when thy life or death 
 rests in our hands ? Lead him away ! Take him to Caiaphas, for he is the 
 high-priest. I am tired of this miscreant." He motions that the captive be led 
 out of sight, and continues : "I will go and rest awhile, or rather consider how 
 to bring this beginning to a successful end. But do not forget to call me to 
 the Council at early morning." The high-priest retires, and the soldiers lead 
 Christ away to the palace of Caiaphas, cursing their victim, and pushing Him 
 rudely along before them. The two disciples, Peter and John, approach the 
 proscenium. They are conversing in a low tone, and anxious to learn the 
 fate of the Lord. 
 
 ACT IX.— CHRIST BEFORE CAIAPHAS. 
 
 Tableau I. Naboth sentenced to death on false accusations. — i Kings xxi. 13. 
 Tableau II. Job in affliction, derided by his wife and friends. — Job ii. 9. 
 
 >N the preceding act, Annas commanded the captive to be taken 
 before Caiaphas. The incident is introduced by two Old Testa- 
 ment types, both of which have a prophetic reference to scenes 
 that occurred at the ecclesiastical trial. Naboth is stoned to death, 
 after being sentenced on the testimony of false witnesses ; and Job, in his 
 humiliation, is scoffed and reviled by his own friends. The Choragus thus 
 explains their typical significance : " Before His enraged foes, who are now His 
 judges, the Lord remains silent, and hears with forbearance and patience the 
 accusations and lies brought against Him, and even the sentence of death passed 
 upon Him. Naboth, unrighteously persecuted, was sentenced to death as a 
 blasphemer on the testimony of false witnesses. So, too, is Jesus unjustly 
 condemned, — He whose only guilt is truth, love, and good works. Soon ye wilt 
 see Him surrounded by base, inhuman hirelings, given over to ridicule and 
 brutality, jeered, maltreated by His enemies. In the picture of patient Job, who 
 suffered the greatest tribulation, and was mocked and insulted by his own. 
 friends, we see prefigured the heavenly mildness and forbearance of the beloved 
 Saviour." Then, reviewing the past, the Choragus sings : — 
 
 Wie blutet mir das Herz ! My heart is bleeding ; for, behold ! in bands 
 
 Der Heiligste steht vor Gericht. The Lord before His ruthless judges stands! 
 
 Musz er der Sunder Bosheit tragen ; Foully betray'd, insulted by His foes, 
 
 Verrathen und beschimpft — gebunden und He bears in silence more than human woes, 
 geschlagen : 
 
 Wem zittert nicht im Auge eine Thrane ? — To Annas first, and then to Caiaphas led, 
 Von Annas weg zu Kaiphas fortgerissen — While Jews loud clamour that His blood be 
 "Was wird er da, ach I leiden miissen ! shed, 
 
 Seht hier im Bilde diese neue Leidensscene. A scene to draw from every heart a sigh, 
 
 And force the tears to flow from every eye. 
 
JoHANN Lang (Caiaphas). 
 
 JOHANN DiEMER (ChORAGUS). 
 
 Gregor Lf.chner (Judas) 
 
 Joseph Maier (Christ). 
 
 PLAYERS OF 1880. 
 
ACT IX.— CHRIST BEFORE CAIAPHAS. 51 
 
 First Tableau. — The Chorus separates and retires, to direct the gaze 
 of the audience upon the tableau of Naboth stoned to death. King Ahab had 
 desired to possess the condemned man's vineyard, because it was a desirable 
 property, and adjoined the royal palace. But Naboth refused to part with 
 the inheritance of his fathers. Ahab was vexed at the refusal, and would not 
 be comforted. While in this state of mind, his queen, Jezebel, approached 
 him, and said : " Dost thou not govern the kingdom of Israel ? Arise, and 
 eat bread, and let thine heart be merry : I will give thee the vineyard of 
 Naboth the Jezreelite." In order to get possession of the land for her 
 husband, Queen Jezebel wrote in the king's name " to the elders and nobles 
 of the city, dwelling with Naboth, saying : Proclaim a fast, and set Naboth 
 on high among the people : and set two men, sons of Belial, before him, to 
 bear witness against him, saying : Thou didst blaspheme God and the king. 
 And then carry him out, and stone him, that he may die." The elders and 
 nobles did as the queen commanded, and when the good man was dead, 
 Ahab obtained possession of the coveted viueyard. The tableau is artistically 
 arranged. In it Naboth is being stoned to death, and the dramatist makes 
 Queen Jezebel witness the scene. While the picture is exhibited the Chorus 
 sings : — 
 
 Es sterbe Naboth ! fort mit ihm zum Tod ! " Let Naboth die ! He blasphemes God on 
 Gelastert, Konig ! dich, gelastert hat er high ! 
 
 Gott : Blasphemes the King ! He hath deserved 
 
 to die ! 
 
 Er sei vertilgt aus Israel ! Let's rid him out of Israel ! 
 So geifern wild die Lasterzungen — Thus the blasphemers foam and swear — 
 
 Von einer losen Jezabel Hired by the wicked Jezebel 
 Zu einem falschen Eid gedungen. 'Gainst Naboth witness false to bear. 
 
 Ach ! mit dem Tode rachet man, Lo, Naboth must, thus stoned, expire, 
 Was Naboth nie verbrochen ; — For sins that he hath never done ; 
 
 Der Weinberg wird dem Konig dann The vineyard, by the wretches dire, 
 Von Schurken zugesprochen. Is then the king bestowed upon. 
 
 Diesz ist ein treues Bild der Welt, This of the world's a picture true, 
 So geht's noch ofters heute. Thus do we find it oft to-day ; 
 
 Das arme fomme Lammchen fallt The gentle lamb falls oft unto 
 
 Dem starken Wolf zur Beute. The stronger wolf an easy prey ! 
 
 Ihr macht'gen Gotter dieser Welt — Ye gods so mighty on this earth, 
 Zum Wohl der Menschheit aufgestellt — Placed over man by rank or birth, 
 
 Vergeszt bei Uebung eurer Pflicht Amid your duties ne'er forget 
 Des unsichtbaren Richters nicht ! The Judge unseen above you set. 
 
 Bei ihm sind alle Menschen gleich, With God all men a hearing find, 
 Sie mogen diirftig oder reich, If rich or poor, if lord or hind ; 
 
 Geadelt oder Bettler sein ; — If noble or if beggar grim, — 
 Gerechtigkeit gilt ihm allein. Justice alone belongs to Him. 
 
 Second Tableau. — The second tableau embodies the story of Job's 
 affliction. The central figure of the picture is the afflicted patriarch, covered 
 with wounds and sores. His three friends, who come to mourn with him in 
 his sorrow, and to comfort him, weep at his fate while yet afar off, and his 
 wife, supported by her servants, reproaches him with scorn, and bids him 
 
 E 
 
52 
 
 THE PASSION PLAY. 
 
 " Curse God and die ! " The Chorus refer continually in the subsequent song 
 to the prophetical significance of the tableau, applying the refrain of "Ach, 
 welch ein Mensch ! — Behold the Man ! " — first to the typical and then to the 
 Divine Sufferer : 
 
 Seht ! welch ein Mensch ! Ach ! ein 
 
 Gerippe 
 Ein Graus — ein Ekel der Natur. 
 Wie windet sich um Wang und Lippe 
 Ein ausgedorrtes Hautchen nur. 
 
 Seht ! welch ein Mensch ! Ach ! wie ge- 
 
 schunden 
 Sieht man bis auf das Mark hinein. 
 Das Eiter trauft aus seinen Wunden. 
 Und Ffiulung frisst schon sein Gebein: 
 
 Ach ! welch ein Mensch ! Ein Job in 
 
 Schmerzen 
 Ach ! wem entlockt er Thranen nicht ! 
 Sein Weib doch — seine Freunde scherzen 
 Und spotten seiner in's Gesicht. 
 
 Ach ! welch ein Mensch ! 
 Wer mag ihn einen Menschen nennen ? 
 Vom Fusse hin bis an sein Haupt 
 Wird aller Zierde er beraubt. 
 
 Ach ! welch ein Mensch ! 
 
 Ihr Augen ! weinet heisse Thranen. 
 
 Ach ! Jesus — ach ! ein Mensch nicht mehr! 
 
 Der Menschen Spott und Hohn wird er. 
 
 Ach ! welch ein Mensch ! 
 O alle ihr geriihrten Herzen ! 
 Ach ! Jesus, Jesus ! Gottes Sohn 
 Wird loser Knechte Spott und Hohn 
 Bei endelosem Kampf der Schmerzen. 
 Ach ! welch ein Mensch ! 
 
 Behold the man ! A skeleton ! 
 A fright, an object shunned by all. 
 The wither'd skin that hangs upon 
 His cheeks and lips, doth us appal ! 
 
 See, what a man ! With wounds all o'er 
 We shudder as we hear his moans ; 
 Foul matter runs from every sore 
 And rottenness eats up his bones ! 
 
 Behold the man ! A Job in pain ! 
 Ah, who can here restrain his tears ; 
 His wife and e'en the servile train, 
 Deride his grief, with scoffs and jeers ! 
 
 Behold the man ! Who can in him 
 The human form divine still trace ? 
 Where find we in his face or limb 
 The wreck of manhood's earlier grace ? 
 
 Behold the Man ! O let your grief 
 Find in your streaming tears relief. 
 Ah, Jesus, ah, a man no more — 
 The scoffs and jeers of men He bore ! 
 
 Behold the Man ! 
 See kindly hearts, God's only Son 
 Is scoff" 'd and scorn'd by every one ! 
 To death condemn 'd by men profane, 
 He fights the bitter fight of pain. 
 Behold the Man ! 
 
 Jesus before Caiaphas. — The soldiers, taking their Captive to the house 
 of Caiaphas, are heard in the distance. They are laughing, shouting, and 
 ridiculing his teachings. They disappear through the doorway leading into 
 the palace of Pilate. In a moment the central curtain is raised, and an 
 apartment in the house of the high-priest is exposed to view. In the back- 
 ground of the room is a kind of throne, before which Caiaphas himself stands, 
 surrounded by priests and Pharisees. The zealotic high-priest no longer 
 wears the robes of his office. He is as excited as when haranguing the 
 Sanhedrim. He thanks the four members of the Council for their zeal in 
 aiding to capture the Nazarene. He says there is to be an extraordinary 
 assembly of the Sanhedrim ; that matters must be pushed forward with as 
 much dispatch as possible ; that the high-priest is busy preparing the neces- 
 sary witnesses ; and that, the sentence of death over the Galilean once spoken, 
 everything is prepared for its execution to be quickly carried out. Caiaphas 
 then commands the priest Samuel to bring in the witnesses, and the soldiers 
 to lead the prisoner before him. Christ, bound as before described, is led in 
 
ACT IX.— CHRIST BEFORE CAIAPHAS. 53 
 
 hy Selpha and two soldiers. The priest Samuel and his ready-instructed 
 witnesses, five in number, enter from the opposite side, and the trial com- 
 mences. " Lead him nearer," Caiaphas says to the soldiers, " that I may 
 look him in the face." After listening- to the witnesses, Caiaphas addresses 
 Christ: "Thou hast, therefore, boasted of possessing supernatural, godlike 
 power. Refute them if thou canst ! ... I see very well that thou thinkest, 
 by remaining silent, to free thyself of the charges. Thou darest not acknow- 
 ledge before thy judge what thou hast taught the people. If thou darest, so 
 hear — I, the high-priest, conjure thee by the living God — tell us : art thou 
 the Messiah, the Son of the living God?" Still He holds His peace. 
 
 " Divinely beautiful," says Miss Patruban, " He stands before his judge, 
 although in bonds. The noble head is erect, but the eyes are cast to the 
 ground, as He answers : ' Thou hast said : nevertheless I say unto you, 
 Hereafter shall ye see the Son of man sitting on the right hand of power, and 
 ■coming in the clouds of heaven,' " (Matt. xxvi. 64.) These words exas- 
 perate Caiaphas. He considers them blasphemous ; and, in his passion, he 
 tears open the breast of his garment, saying : " What further need have we 
 of witnesses? Behold, now ye have heard his blasphemy. What think ye?" 
 The assembled priests answer as with one voice : " He is guilty of death." 
 '(vs. 65, 66.) " Unanimously," Caiaphas exclaims, " is the man pronounced 
 guilty of death. Not I, not the High Council, but the divine law pronounces 
 upon him the judgment of death. I ask you, chief teachers of the law,'* 
 addressing the priests at his left, " what doth the law say of one who doth 
 not obey the authorities placed over him by God ? " The law is read. 
 '" Take him," exclaims Caiaphas. " Guard him ! " he says to the soldiers, 
 ** and at dawn bring him again to the Sanhedrim." He motions imperiously 
 that the captive be taken away. After the soldiers, the witnesses, and the 
 Saviour have disappeared he congratulates the priests on their success. " It 
 is arranged," he says, " that a grand council be held early in the morning ; 
 and as soon as the sentence is confirmed by the Sanhedrim, we will hasten 
 to Pilate, that he cause the sentence to be carried out at once." 
 
 The curtain falls ; but is soon raised again, to reveal the anteroom of the 
 Sanhedrim, where the soldiers abuse their captive while waiting the arrival 
 of the members of the High Council. This short interval is made use of by 
 the Ammergau dramatist to introduce Judas once more. The traitor already 
 feels the sting of conscience. He passes rapidly across the stage, muttering 
 these words, which give us an index to the dark despair that is beginning 
 to fill his soul : — 
 
 Forebodings fearful give me never rest. Away grim thoughts ! So far it will not 
 Those words of Annas : ' ' He must die ! come ! 
 
 Must die They will not dare condemn the Innocent I 
 
 E'en 'fore the feast ! " ring loudly in mine But I will learn i'th house of Caiaphas how 
 
 ear. Matters are standing with the Master's fate; 
 
 They will not dare to carry things so far! I can no longer bear these fears and hopes. 
 
 Nay, 'twould be fearful if they should ! I must find out the certainty at once — 
 
 And thou, I must — for there is no escape, and oh ! — 
 
 Unhappy Judas,— thou the traitor vile ! It cannot be that I should hear the worst. 
 
54 THE PASSION PLAY. 
 
 Peter denies Christ. — It is early morning. The soldiers who-' 
 have charge of Jesus are waiting for the high-priest in a spacious hall of 
 Caiaphas' palace. The maids are about to light the fire ; they scoff at the 
 Saviour even more than the soldiers themselves. Peter and John approach; 
 John enters among the soldiers, but Peter, fearful, remains outside, until John- 
 has proved that the way is clear. Finally Peter enters, and begins to warm 
 himself by the fire. One of the maids recognizes Him as a disciple of Christ. 
 The hour of trial proves Peter's weakness; he denies all knowledge of Jesus;, 
 and the cock crows for the first time. For the third time he denies the 
 Master, saying, " I do not know this man of whom ye speak ! " The cock, 
 crows a second time. Peter now recalls the words of the Master whilst at 
 the Last Supper : " Before the cock crow twice thou shalt deny me thrice.'' 
 Overcome with the consciousness of his guilt, and despairing at his own 
 weakness, he would gladly hasten from the scene. But Malchi, who has. 
 entered the hall from the interior of the palace, to call the soldiers to arms- 
 and to make ready for the reception of the captive, recognizes Peter at once. 
 " What ! " he exclaims. " Have I not seen thee in the garden close beside 
 him, when the ear of Malchus was cut off from his head." There is a sudden 
 commotion among the soldiers, who stand erect, and to their arms, as the 
 Captive is brought into the hall. " He is sentenced to death," says Selpha,, 
 in answer to the questions of the soldiers, who exclaim: " 0, poor king!"^ 
 The Saviour's eyes first fall upon Peter. He gazes full of sorrow and sym- 
 pathy at the conscience-stricken disciple, who stretches out his hand towards 
 Him as if to ward off that penetrating gaze ; he covers his face with his hands,, 
 and leaves, " weeping bitterly." 
 
 The curtain is raised to reveal Christ guarded by the soldiers. The 
 Captive, bound and helpless, is at the mercy of His gaolers — the object of their 
 rude wit and treatment. Clarus says: "Great as is the brutality with which. 
 Christ is treated. His calm carriage, firm nobility, and the elevated dignity in 
 His conduct never waver. Even the brutal blows of the soldiers, who wish to 
 make Him stumble, are borne with unconquerable firmness and patience. No- 
 unskilfulness and no exaggeration disharmonizes His part, even when, with 
 His hands tied behind His back, the hirelings push Him off His seat upon the 
 floor. During the whole scene the thought is ever present that in spite of all 
 disgrace heaped upon Him, it is here the King of Heaven that suffers ; in 
 all these hours of outrage, Christ appears as a lofty victor, and His person 
 wins thereby in dignity and glory." The soldiers, while abusing their 
 Captive, make use of a doggerel rhyme very similar to that found in the 
 ■versions of the play belonging to the seventeenth century : — 
 
 Malchi. 
 \Striking Christ in the face, '\ Malchi, 
 
 Come, be so good and say to me, {Shakes Him rudely, and pushes him from 
 Who is the rogue that striketh thee ? the stool. ] 
 
 Abdas. Hear'st tbou ? Art gone to sleep ? Just 
 
 If thou art wise enough to know, wait ! 
 
 So say [strikes Him) if I did give the blow? I'll punish thee, thou lazy pate ! 
 
'J iTi/M 4»/AI 
 
 JACOB HETT AS "ST. PETER." 
 
ACT IX.— CHRIST BEFORE CAIAPHAS. 
 
 55 
 
 Beri. 
 
 '^O, great misfortune we bemoan, 
 The king hath fallen from his throne ! 
 
 Abdas. 
 *0 woe, O woe ! I much regret, — 
 No more such king as this we'll get ! 
 
 Malcht. 
 ^To Christ, while He is still on the ground, 'I 
 Thou hast such wondrous pranks once 
 
 play'd ; 
 •Canst help thyself without our aid ? 
 
 Panther. 
 Say, what shall we do next, good men? 
 
 All. 
 O, set him on his throne again. 
 
 Panther. 
 
 {Placing Christ rudely on the stool.l 
 
 Come, glorious monarch, thou shalt see 
 What reverence deep we'll show to thee. 
 
 Dan. 
 
 [ Who has been sent by Caiaphas."] 
 How go'th it with the new king's fame ? 
 
 All. 
 He is no good : is sad and tame. 
 
 The soldiers are interrupted in their work of abuse by the arrival of 
 «"Caiaphas' messenger, who brings word that the High Council is assembled, 
 and awaiting the prisoner. The curtain falls as Christ is being led to one of 
 the inner apartments of the palace, where His trial is to take place. 
 
 A dramatic portraiture closes this act. Peter, filled with mortification 
 at having denied his Lord and Master, appears once more, to express his con- 
 trition for the error he has been led to commit in a season of weakness. 
 When he has poured out his repentance, he leaves the scene ; when John, 
 too, appears once more, in search of his fellow-disciple. The monologues 
 spoken by both disciples are from the blank verse edition of the Passion Play 
 ^written by Pastor Daisenberger ; — 
 
 Peter. 
 
 Alas, my Master ! I have deeply fallen ! 
 
 'O woe is me, a mortal weak, infirm ! 
 I have denied Thee, thrice denied Thee, 
 Lord! 
 
 ^O 'tis not possible ; for thou know'st well 
 I was determined to go on with Thee 
 E'en unto death, and now — O deep dis- 
 grace,— 
 Trusting a reed when I did make the vow — 
 I have renounced Thee, in ignoble fear. 
 A base apostate, fugitive I stand 
 Before my God, before myself abased, 
 Nor worthy Thy disciple to be called. 
 My Lord, my Master, hast thou still for me 
 Mercy in store, and that reviving grace 
 
 JFor sinful man provided in Thy love, — 
 O let their balsam in my heart be pour'd. 
 May Thy hand raise me from this deep 
 abyss. 
 
 •O, execrably weak and changeful mind. 
 This day, this deed, for ever will I rue. 
 With penance, till I sink into the grave. 
 Beloved Master, hear, O hear once more 
 
 "The pleading voice of my repentant heart ; 
 
 For nevermore will I forsake Thee, Lord. 
 
 God all-forgiving, Thou hast ever shown 
 
 Mercy to those who come with contrite 
 heart, 
 
 O grant me pardon for my weak denial. 
 
 Nay, I have read forgiveness in Thy looks; 
 
 That long, sad gaze of sympathy with which 
 
 Thou look'dst at me, thine erring, fallen 
 child. 
 
 Gave me sweet promise of Thy pardon soon. 
 
 Forgive, forgive me, Lord, and from this 
 hour 
 
 My whole heart's love shall e'er belong to 
 Thee. 
 
 And I will cling to Thee, and from hence- 
 forth 
 
 Nor earth nor hellish malice shall prevail 
 
 To tear me from Thee — Lord, O Lord, for- 
 
 give 
 
 {Leaves the proscenium. 
 
 John. 
 
 {Entering from the left side.'] 
 
 But Peter, where is he? 
 search 
 
 Mine eye doth 
 
56 
 
 THE PASSION PLAY. 
 
 For him in vain the busy crowd among ! 
 God grant no trouble hath befallen him. 
 Hence on the road to Bethany, fair home, 
 There I, perchance, may meet him on the 
 way. 
 
 But thou, oh sweetest mother of the Lord t 
 How sore will thine affliction be, how deep t 
 When of the latest hours the deeds I tell. 
 O Judas, Judas, what, what hast thou done? 
 \Hefoll(nvs Peter.. 
 
 ACT X.— THE DESPAIR OF JUDAS. 
 
 Tableau. Cain tortured by his conscience ; a wanderer on the earth. — Gen. iv. 10-17. 
 
 HE scene depicting the despair of Judas, on discovering too later 
 that he has given the Master over to death, is prefigured in the 
 tableau of Cain's remorse after the death of Abel. Cain, the 
 fratricide, is represented as in wild anxiety, hurrying hither and 
 thither upon the face of the earth, bearing with him everywhere the 
 murderer's brand on his brow. The Choragus addresses the audience, as 
 usual, on what is to come. " Why^' he asks, " doth Judas wander about so 
 abject and confused I The bitings of a wicked conscience martyr him ! The 
 guilt of blood weighs upon the soul that wanders in the fire of the reward of 
 sin." Then, as if to warn Judas, and induce him to repent of what he has done, 
 he continues : " Weep, O Judas, at the crime thou hast committed. O, erase it 
 with tears of penitence. Meekly hoping, plead for grace, for the door of salva- 
 tion is sti'l open to thee. Oh, woe ! The most bitter regret tortures him ! Not 
 a single ray of hope penetrates the darkness, and he cries out in anguish with 
 Cain the fratricide : ' Too great, too great is my sin I ' Uncomforted and un- 
 penitent, terror and despair have seized him — the final reward of sin, which 
 drives all its victims towards such a fate." The Chorus continues in song: — 
 
 O weh dem Menschen ! sprach der Herr 
 
 Der mich wird iibergeben ; 
 Es ware besser ihm, wenn er 
 
 Erhalten nie das Leben. 
 
 Und dieses Weh, das Jesus sprach, 
 Folgt Judas auf dem Fusse nach. 
 
 In vollen Schaalen wird es sich ergiessen. 
 
 Laut schreit um Rache das verkaufte 
 Blut, 
 Gegeisselt von dem nagenden Gewissen, 
 
 Gepeitscht von alien Furien der Wuth, 
 
 Rennt Judas rasend schon umher 
 
 Und findet keine Ruhe mehr. 
 Bis er, ach ! von Verzweiflung fortgerissen 
 
 Hinwirft von sich in wilder Hast 
 Des Lebens unertraglich schwere Last. 
 
 ** Woe to that man," thus spake the Lord,. 
 
 "Who shall the Son of Man betray ; 
 'Twere better had his form abhorr'd 
 
 Ne'er come into the light of day." 
 
 In fullest measure doth the traitor feel. 
 The blighting woe Christ utter'd at the 
 
 meal. 
 He flees the torment that is ever nigh : 
 Loud for revenge the blood betray'd doth 
 
 cry; 
 Harass'd by doubts and by his conscience 
 
 stung, 
 He feels the lash by all t<he furies swung. 
 
 Accurs'd Iscariot, torn by deep despair, 
 Earth hath no blessings : shame alone his 
 
 share ! 
 At last, soul-broken in the unequal strife. 
 He breaks the band that holdeth him to life. 
 
 Tableau. — The tableau is revealed. Two sacrificial altars have been 
 erected by the brothers ; with Abel's offering the descending flame proves that 
 
ACT X.—THE DESPAIR OF JUDAS. 
 
 51 
 
 it is well-pleasing to God, whilst the other stands desolate, and excites Cain 
 to slay his more favoured brother. Slain Abel lies stretched upon the ground, 
 close to the altar. Before him, as if about to flee from the sight and his own 
 conscience, stands the murderer. Cain's right hand is pressed on his feverish 
 brow, as if in mad despair, while from the enfeebled grasp of his left hand the 
 murderous club falls to the ground. Pointing to the scene, the Chorus sing 
 the terrible lesson of the tableau : — 
 
 So flieht auch Kain. Ach, wohin ! 
 
 Du kannst dir selbst doch nicht entflieh'n. 
 
 In dir tragst du die Hollenqual ; 
 
 Und eilest du von Ort zu Ort, 
 
 Sie schwingt die Geissel fort und fort. 
 Wo du bist, ist sie iiberall ; 
 Und nie entrinnst du deiner Pein. 
 Diess soil der Sunder Spiegel sein ; 
 Denn kommt die Rache heute nicht — 
 
 Wird noch der Himmel borgen ; 
 So fallt das doppelte Gericht 
 
 Auf ihre Haupter morgen. 
 
 Thus, too, fleeth Cain. But whither ? See ! 
 Thou canst not from thy conscience flee — 
 May'st hasten on from place to place, 
 The scourge ne'er tireth in the race : 
 In thee thou bear'st the pains of hell ; 
 Where thou — there is the scourge as well. 
 This shall the sinner's mirror be : 
 From punishment thou canst not flee : 
 
 If vengeance do not come to-day, 
 The heavens still can borrow ; 
 
 The double judgment will but stay 
 To crush thee on the morrow ! 
 
 JuDAs's Despair. — Cast off by those who seduced him to crime, Judas 
 appears alone, persecuted by the qualms of his conscience. Terrible are the 
 workings of anxiety, rue, and despair upon the nervous frame of the betrayer. 
 It is as if his whole being were rent by internal discords. Masterly and 
 dramatic is the scene — this beginning of despair : — 
 
 Alas, at last, then, have my dreadful fears 
 
 And grim forebodings grown to dismal 
 truth ? 
 
 Yea, troth, Caiaphas sentenced Him to death, 
 
 And the High Council this dark deed ap- 
 proves. 
 
 Too late ! salvation's hope from me hath 
 fled! 
 
 What thought, O wretched man, can I now 
 seize ? 
 
 I who did give him to their blood-stain'd 
 hands ! 
 
 The price of treason — 
 
 \^G lancing at the money, 
 I will give it back — 
 
 And they my Master must return to me ! 
 
 This very moment to the court I'll go. 
 
 And Him demand — but woe, O woe is 
 me ! 
 
 Could I still save Him ? But how vain the 
 
 hope ! 
 They will but mock me for my tardy rue. 
 I see beforehand they will but me jeer. 
 Accursed Synagogue ! Thou, thou alone 
 My heart hast tempted, through thy trading 
 
 gang, 
 Who well conceal'd their bloody plans and 
 
 thine, 
 Until the Victim in thy net was safe. 
 With words chastising I will me torment : 
 Ye, unjust judges, nought, nought will I 
 
 know 
 Of your decisions base, Satanical ! 
 Clean shall my hands be of the blood of 
 
 Him, 
 Of Him, the Guiltless ! O, the torturing 
 
 qualms. 
 The pains of hell that burn my inmost soul. 
 
 The curtain of the central stage is raised, and reveals the meeting of the 
 Sanhedrim, which has been specially called for early morning. All the 
 members are there, with the exception of Joseph of Arimathea and Nico- 
 demus. Caiaphas and Annas occupy their accustomed, elevated seats. 
 
 Judas rushes into the assembly, seeking refuge from the sense of guilt 
 burdening his conscience. The betrayer is told, coolly, to be quiet But he 
 
58 THE PASSION PLAY. 
 
 answers, enraged, " No quiet for me ! Ye have made me a betrayer. Re- 
 lease again the innocent one. My hands shall be clean ! " But the high- 
 priests are deaf to all that Judas says. Judas here develops his greatest 
 dramatic power. Enraged and penitent, he casts the money-bag at the feet 
 of the high-priests, cursing his partners in the crime, " So shall ye, too, fall 
 with me into the abyss ! " He rushes headlong out of the hall. The High 
 Council commands that the money be picked up ; but since it is blood-money 
 they conclude not to put it again into the treasury, but to buy with it a burial- 
 place for strangers — the " field of blood." They then conclude to do all in 
 iheir power to hasten Christ's death, before the approaching festival. Jesus 
 says : " From this time on will the Son of man sit in his glory at the right 
 hand of the Father." But they cry, confident of their victory : " The whole 
 world shall speak of us, and of our victory over the Galilean." In order to 
 hasten the execution of the sentence they have pronounced, three members 
 of the Council go to Pilate. But Pilate is a heathen, and his palace is at the 
 same time the judgment-hall. In order not to make themselves unclean, 
 they do not enter Pilate's house, but request a meeting with the Roman 
 governor in the garden. The doorkeeper at Pilate's house makes a 
 quaint remark : " O ye cunning knaves, who swallow camels and strain at 
 gnats ! " 
 
 The curtain of the central stage is again raised. The scene represented 
 is the field of blood — the place of burial for strangers — a wild spot near to 
 Jerusalem. In the centre is a small mound, overshadowed by a tree with 
 leafy top. Judas appears; passes on hastily; seems greatly confused and 
 excited, as if battling with the stingings of his conscience, finding nowhere 
 rest for body or soul. In his despair, he cries out : " I can no longer endure 
 the torture of my conscience. He warned me before, the good Master ! My 
 treachery hath for ever excluded me from the company of His disciples. For 
 me there is no hope, no forgiveness, no salvation ! " Yet he finds some com- 
 fort in calling to mind the mildness and love which Jesus always manifested 
 towards him, even after he had been meditating the deed of betrayal. He 
 resolves to throw himself at the Master's feet, and beg for forgiveness. But 
 demon-like feelings suddenly get the mastery of him, and he again exclaims: 
 " My sin is too great, that I could expect to receive His forgiveness. No, for 
 me there is neither forgiveness nor salvation ! " In this state of excitement 
 and despair, he beats his breast and wrings his beard and hair. While thus 
 raving, his eye turns to the fatal tree. It is as if the Satan of the mediaeval 
 mystery plays were beckoning him from its branches, saying : " Here, Judas, 
 here is the tree ; hang thyself on it quickly." He rushes towards it ; gazes 
 for a moment at the branch that seems as if made to suspend him, and tears 
 the girdle from his garment, saying : " Ha ! Come, thou serpent, entwine my 
 neck, and strangle the betrayer." He springs at the branch ; throws the end 
 of the girdle over it ; ties it about his neck ; and the suicidal act is all but 
 completed when the falling curtain hides the terrifying scene. The following 
 monologue of Judas, which may be considered as one of the finest dramatic 
 pieces of the play, is written by the Geistlicher Rath Daisenberger: 
 
ACT X.—THE DESPAIR OF JUDAS. 
 
 59 
 
 Where can I go to hide my fearful shame ? 
 How rid my conscience of its dreadful guilt ? 
 No forest fastness is there dark enough ! 
 No mountain cavern deep enough ! O earth, 
 Ope wide thy jav/s, and swallow me! I can 
 No longer here remain. 
 
 Oh, my dear Master ! 
 Him, best of all men, have I basely sold, 
 Giving Him up to treatment vile and rude, 
 Yea, perhaps to martyrdom and torture — I, 
 Detestable betrayer ! — Is there a man 
 On earth on whom such guilt of blood doth 
 rest? 
 
 How good the Master ever was to me ! 
 How did He comfort me with kindly words. 
 When gloomy thoughts oft hover'd o'er my 
 
 brow ! 
 How wondrous happy did I feel when I 
 Sat with the brethren at His feet, and heard 
 Sweet, heavenly teachings from His mouth 
 
 proceed ! 
 How, full of love, did He admonish me. 
 E'en while my soul o'er scandalous treachery 
 Was deeply brooding, — the good Lord — 
 
 and — 
 For all His goodness, have I thus repaid ! 
 
 Accursed avarice ! Thou alone didst lead 
 My heart astray : didst make me deaf and 
 
 blind ! 
 Thou wast the ring by which foul Satan 
 
 held 
 My soul, and dragg'd me down the dread 
 
 abyss. 
 No more His follower, — shall I ever dare 
 Before the brethren show my face again ? 
 Shut out from them, and hated everywhere, 
 Despised and jeer'd, indeed, by those vile 
 
 men 
 
 Who led me on. As a betrayer now, 
 Branded with shame, I wander ^rring on, 
 And bear this glowing fire within my breast ! 
 
 Oh, were the Master there ! Oh, could I see 
 His face once more ! I'd cast me at His 
 
 feet. 
 And cling to Him, my only saving hope ! 
 But now He lieth in prison, — is, perhaps, 
 Already murder'd by His raging foe — 
 Alas, through my own guilt ! Through my 
 
 own guilt 
 I am the outcast villain who hath brought 
 My benefactor to these bonds and death. 
 The scum of men ! There is no help for 
 
 me ! 
 For me no hope ! 
 
 great ! 
 The fearful crime 
 
 good. 
 Too late ! Too late ! 
 
 and I — 
 I am His murderer ! 
 
 Thrice unhappy hour, 
 In which my mother gave me to the world ! 
 How long must I drag on this life of shame, 
 And bear these tortures in my outcast breast? 
 As one pest-stricken, flee the haunts of men. 
 And be despis'd and shunn'd by all the 
 
 world ? 
 
 Not one step further! Here, O life accursed, 
 Here will I end thee ! On these branches 
 
 hang 
 The most disastrous fruit. 
 
 [C/ndoes the girdle, and prepares to hang 
 hhnself. 
 
 Ha ! come, thou serpent, 
 Entwine my neck, and strangle the be- 
 trayer ! 
 
 My crime is much too 
 no penance can make 
 For He is dead. 
 
 Here ends the role of Iscariot. The characterization of Judas in the 
 Passion Play differs in many essential points from the portraiture given of the 
 betrayer by the Evangelists, who describe the deed of betrayal as the result 
 of a sudden, malignant inspiration of a soul naturally wicked. Here the por- 
 trait is enlarged with great dramatic skill. Judas is represented to us as the 
 incorporation of the idea " that avarice is the root of all evil." The germ of 
 treachery sprang up at Bethany, when the costly ointment poured on the 
 Master's feet by penitent Magdalene called up the latent avarice in Iscariot's 
 nature. Judas had no thought of betrayal then. But fear for his future 
 material welfare, fear that Christ was going to leave His followers unprovided 
 for, constantly haunting his mind, prepared him to listen to the vile insinua- 
 tions of the traders, and to finally accept the blood-money from the Sanhe- 
 drim. An English critic, writing in 1871, said: "The acting of Judas would 
 be considered splendid on any stage in Europe. The naturalness and subtle 
 rendering of the character is truly marvellous." 
 
6o THE PASSION PLAY. 
 
 ACT XL— CHRIST BEFORE PILATE. 
 
 Tableau. Daniel falsely accused before King Darius.— Daniel vi. 4. 
 
 1f^'^S?HE Sanhedrim has already passed the sentence of death upon 
 ^{^1 \f)y Christ. But since this body is subject to the dominion of Rome, 
 ^^4p'&; it is necessary to get their judgment formally confirmed by Pilate, 
 i^jie^^ before it can be carried into execution. The introductory tableau 
 has reference to this event : " Scarcely ^'^ says the Choragus, in the opening 
 address, '"''have the words, ' He shall die !' been heard, when we hear the priests, 
 many-tongued, hastening to the palace of Pilate, athirst with tiger-like rapacity 
 for the blood of the Saviour. They assemble before the palace of the Gentile, im- 
 petuous, inexhaustible in abuse, bringing charge upon charge, impatiently 
 clamouring for the sentence of condemnation. Thus, too, did a thousand voices 
 cry out against Daniel, ' He hath destroyed Baal ! Away with him to the den of 
 lions I Let him serve them as food I ' Alas, when once false illusions have 
 effected an entrance into the human heart, the man is no longer able to command 
 himself Injustice groweth to be a virtue in his mind, and virtue he hateth and 
 persecuteth ! " The Chorus sings : — 
 
 Gelastert hat er Gott ! "He hath blasphemed God on high, 
 
 Wir brauchen keine Zeugen mehr. "What witness more have we then need ? 
 
 Verdammt zum Tod He hath deserved death," they cry, 
 
 1st vom Gesetze er ; '"Tis by our ancient laws decreed !" 
 
 So larmet das Synedrium. Thus rages wild the Council High ; 
 Auf ! zu Pilatus wollen wir, " Up, up, to Pilate let us go ! 
 
 Ihm unsre Klagen vorzubringen — Our just demands he can't deny ; 
 Das Todesurtheil zu erzwingen. Death must be meted to the foe !" 
 
 Tableau. - The tableau shows the prophet Daniel before the throne of 
 Darius, defending himself against his accusers. The presidents, governors, 
 princes, councillors, and captains of the empire, we are told, had induced 
 Darius to sign a decree, that whosoever should ask a petition of any god or 
 man for thirty days, save of the king, should be cast into the den of lions. 
 But Daniel continued, as was his wont, to pray to God three times every day, 
 looking towards Jerusalem. This was his sin ; and with this charge the 
 princes and governors demanded that the monarch should sentence him to 
 death in the den of lions. Although King Darius was sorely displeased, when 
 he heard the charges, that he had committed himself, for he loved Daniel, he 
 could not break his word, and was finally compelled to command that his 
 favourite be cast into the den. The Chorus sings of the relation of this Old 
 Testament type to the dramatic scene : — 
 
 In diesem stummen Bilde sehet ihr : See in this scene the story told 
 
 Wie Daniel zu Babylon, Of what took place in days of yore. 
 
 Verklagt man falschlich Gottes Sohn. In Daniel's fate a type behold 
 
 Of that which is for Christ in store. 
 
ACT XL— CHRIST BEFORE PILATE. 
 
 61 
 
 Der Gotter Feind ist Daniel ! 
 
 O Konig ! hore deiner Volker Klagen : 
 
 Zerstort hat er den grossen Bel — 
 
 Die Priester und den Drachen ererschlagen. 
 
 Ergrimmt vor deinem Thron 
 
 Erscheint ganz Babylon. 
 
 Willst du von Volkes Wuth dich retten ; 
 
 So lass den Feind der Gotter todten. 
 Er sterbe ! — Konig ! nur sein Tod 
 Versohnet unfern groszen Gott. 
 
 So eilt das bose Sanhedrin 
 Ganz rasend zu Pilatus hin, 
 
 Wie jene Schurken dort gethan ; 
 Und klagt mit wildem UngestUm, 
 Voll Tigerwuth und Lowengrimm, 
 
 Die Unschuld auf den Tod nun an. 
 
 O Neid ! satanisches Geziicht, 
 
 Was unternimmst, was wagst du nicht, 
 
 Um deinen Groll zu stillen ? 
 Nichts ist dir heilig, nichts zu gut ; 
 Du opferst Alles deiner Wuth 
 
 Und deinem bosen Willen. 
 
 Weh dem, den diese Leidenschaft 
 In Schlangenketten mit sich rafft ! — 
 
 Vor neidischen Geliisten, 
 O Bruder ! bleibet auf der Hut ! 
 JVie lasset diese Natterbrut 
 
 In euren Busen nisten ! 
 
 The gods' great foe is Daniel. 
 
 O King, list how thy folk complain : 
 He hath destroy'd the mighty Baal, 
 
 The dragon and the priesthood slain. 
 Enraged, before Thy throne, 
 Appears all Babylon. 
 
 Wouldst thou escape the people's ire? 
 Then let our gods' great foe expire ! 
 His death ! — O King, his death alone 
 Will for his wicked deeds atone. 
 
 And, like these men of vile report, 
 The Council haste to Pilate's court, 
 
 And there, with raving breath. 
 Denouncing with their souls irate. 
 With lion's rage and tiger's hate. 
 
 The Innocent to death. 
 
 O envy, foulest breed of hell, 
 What darest thou not do as well 
 
 Thy basest ends to gain ; 
 Nought is too sacred, pure, or high 
 Thy wickedness to satisfy ; 
 
 Nought can thy rage restrain. 
 
 Take care, O brethren, that vile envy's 
 
 sway 
 Ne'er bear you in its serpent-coils away ; 
 Its sting is fatal : and its each desire 
 Works in your heart a never-dying fire. 
 
 Christ before Pilate. — After the Chorus has disappeared, Christ is led 
 before Pilate. The latter appears with his train upon the balcony of his 
 palace. The high-priests and the Jews stand on the pavement below. They 
 cry, " He is a blasphemer, an instigator of the people, an enemy of the em- 
 peror, for he refuses the dues, and calls himself king." Pilate knows well that 
 this is not so, but he addresses Jesus as a judge. But Jesus does not answer. 
 "His silence," cry the high-priests, "betrays his guilt ; he has put himself 
 up as king of the Jews." In order to prove these accusations nearer, Pilate 
 orders Christ to be brought up to him. He then asks him, " Art thou the 
 king of the Jews?" Christ answers dignifiedly : "My kingdom is not of this 
 world; if my kingdom were of this world, then would my servants fight, that 
 I should not be delivered to the Jews : but now is my kingdom not from 
 hence . . . Thou sayest that I am a king ; to this end was I born, and for this 
 cause came I into the world, that I should bear witness unto the truth." 
 Pilate does not understand these words relating to Christ's divine mission, and 
 ^sks Jesus, " What is truth ? " The course of the trial is here interrupted by 
 jSpne of those minor and yet significant scenes which the mediaeval dramatists 
 ^- seldom omitted to notice, loving as they did to record all the events that might 
 be considered supernatural, and as connected with the life of the Lord. The 
 dream of Pilate's wife was classed in this category. The servant Quintus 
 enters hastily upon the balcony, and informs his master that Claudius is waiting 
 
62 THE PASSION PLAY. 
 
 outside, bearing a message from his (Pilate's) wife. The governor orders that 
 he be admitted, and at the same time commands the soldiers to " lead the 
 captive, for the present, into the hall." Claudius enters and greets his master. 
 "What message dost thou bring from my beloved wife ? " Pilate asks. The 
 servant answers : " She sends greeting to thee, and begs of thee most urgently 
 that thou wilt have nothing to do with the just man who standeth accused be- 
 fore thyjudgment-seat, for she hath suffered many things this day in a dream 
 because of him." (Matt, xxvii. 19.) Though Pilate expresses his surprise 
 at the message, it does not come unwelcome to him in his present state of 
 mind. " Tell her," he replies, " that she need have no fear on his account. I 
 will not submit to the Jews, but will do all in my power to rescue him." 
 
 Finally a way presents itself by which he still hopes to be relieved from 
 further measures in relation to Christ. " Is he from Galilee?" he suddenly 
 asks. " Yea," answer the priests, " this man is simply a Galilean." The chief 
 rabbi adds : " He is from Nazareth, in the territory of King Herod." " Then," 
 answers Pilate, " if that be the case, I am relieved from the office of judge. 
 Herod hath come to Jerusalem to celebrate the feast. Let him sit in judg- 
 ment over his subject. Take Him to His own king. Let Him be escorted 
 thither by my own soldiers." Christ is now led away from the balcony. 
 Pilate retires into his palace, glad to have placed the burden of the judgeship 
 upon other shoulders. The priesthood linger for a moment below. Caiaphas 
 is conscious of having gained at least a partial victory. "Up, then!" he 
 exclaims, "let us go to Herod! We shall find at his hands better protection 
 for our sacred laws, for he is still true to the faith of the fathers." Gesticu- 
 lating and uttering violent threats and comments, the priests cross the stage, 
 followed by the soldiers who guard the Saviour, on their way to the court of 
 King Herod. 
 
 ACT XIL— CHRIST BEFORE KING HEROD. 
 
 Tableau. — Samson a sport to the Philistines. — Judges xvi. 
 
 JAMSON a sport to the Philistines : Jesus ridiculed before the court 
 of King Herod. Such is the relation of the tableau to the dra- 
 matic scene, — of the prophecy to the fulfilment. The Choragus 
 as usual, announces the nature of the scene to follow. " The be- 
 loved Saviour,'" he says, " meets with further humiliation before the court of 
 Herod, because he refuses to flatter the monarches vanity by exhibiting his gift of 
 prophecy and his miraculous powers. For this reason the Most Wise is treated 
 by fools as one like unto themselves ; and as a pastime for the monarch and his 
 hirelings, he is mockingly clothed in a white robe, and thus exhibited to public 
 gaze. Samson, the mighty hero, feared of his enemies, was deprived of his sight, 
 and exhibited as a bound captive by the Philistines, who ridiculed and despised 
 him on account of his weakness. Yet, he who now seemeth to be so weak will 
 
ACT XII.— CHRIST BEFORE KING HEROD. 
 
 63 
 
 eventually prove his mightiness. He who standeth here degraded will soon 
 glance in majesty. Virtue towereth above undeserved mockery." Before the 
 tableau is revealed the Chorus sing : — 
 
 Vergebens spriihet vor des Richters Schran- 
 ken 
 
 Erboster Hass der Lastrung Flammenglut . 
 Der Richter tritt entgegen ohne Wanken; 
 
 An seiner Feste bricht der Feinde Wuth. 
 
 Doch ruht sie nicht ! Bekiimmert gehen 
 
 Wir Jesu zu Herodes nach. 
 Dort — ach ! — betriibten Herzens sehen 
 
 Wir Ihm bereitet neue Schmach. 
 
 Embitter'd foes, their wicked ends to gain, 
 Rage and blaspheme before the judg- 
 ment-seat : 
 Just and austere, the judge their charges 
 meet, __; 
 
 He stands unmoved, and all their lies are 
 
 vain. 
 But they rest not ! Now let us sadly go. 
 To Herod's court, where He, the Lord, is 
 
 ta'en ; 
 
 But who can here the flowing'tears re- 
 strain. 
 To see the treatment He must undergo ? 
 
 Tableau. — The story of this tableau is told in Judges xvi., how that 
 Samson, after being betrayed by Delilah, the lords of the Philistines gathered 
 together to offer a great sacrifice to their god Dagon, and to rejoice that 
 Samson was in their hands. In their exultation they called for Samson to 
 make them sport, and the strong man was set between the pillars. Samson 
 said unto the lad that held him : " Suffer me that I may feel the pillars where- 
 upon the house standeth, that I may lean upon them." Samson grasped them, 
 bowed himself with all his might, and the house fell upon the lords, and all 
 the people that were therein. The Chorus sings, in explanation : — 
 
 Seht Samson : Seht die starke Hand — 
 
 Sie muss der Knechtschaft Fessel tragen! 
 
 Der Held, der Tausende geschlagen — 
 Er tragt des Sklaven Spottgewand ! 
 
 Den Feinden einst so furchterlich 
 
 Dient er zu ihres Hohnes Ziele ; 
 
 Philister brauchen ihn zum Spiele, 
 Erfreu'n an seiner Schwache sich. 
 
 So steht auch Jesus, Gottes Sohn, 
 Zu stolzer Thoren Augenweide, 
 Geschmaht, verlacht im weissen Kleide, 
 
 Und iiberhauft mit Spott und Hohn. 
 
 See, Samson, see the mighty man. 
 
 The hero of a thousand slain. 
 The victim of a treacherous plan. 
 
 Must bend beneath the bondman's chain. 
 'Midst foes who him could ne'er arrest 
 
 He must, alas ! in bondage stand ; 
 The Philistines make him their jest, 
 
 And fear no more his stalwart hand. 
 See Jesus, too, God's only-born, 
 
 Reviled, abused by foolish men ! 
 
 Despised and clad in robes profane — 
 Exposed to contempt and scorn. 
 
 Christ before Herod. — The scene of Christ before Herod takes place 
 in the central stage, generally used for the tableaux. Surrounded by his 
 court the tetrarch sits upon an elevated golden throne. He wears a yellow 
 velvet garment, garnished with silver and white. Priests of high standing 
 and soldiers are present. Soon the multitude with Christ reaches the palace; 
 but only Christ and the chief men of the escort are allowed to enter. Herod 
 sees in the maltreated Jesus only a foolish person, hardly worth being con- 
 sidered as at all dangerous to the state. Christ does not answer Herod's 
 questions, and the fat monarch's wish that Christ should perform a miracle 
 is unheeded. He proposes all manner of things to the meek captive. " In- 
 terpret me the dream that I dreamt last night ; do a miracle ; transform the roll 
 
64 THE PASSION PLAY. 
 
 that contains Thy death-warrant into a serpent. Thou wilt not ! Thou canst 
 not ! That ought to be an easy task for thee to do." But Herod can neither 
 get word nor deed from Christ, so, as if considering the further exami- 
 nation beneath his dignity, he thinks to make a laughing-stock of Him by 
 causing a garment of ridicule to be put upon Him, a sceptre to be placed in 
 His hand, and in this manner fto be sent back to Pilate. " Clad with this 
 magnificent royal robe," says Herod, " He will henceforth shine in His king- 
 dom." The servant adjusts the robe, and Christ appears clad entirely in 
 white. "Now," says Herod, "lead Him as He is before the people ! They 
 can admire their favourite as they will, till they have had enough of Him." 
 
 "Is this then thy sentence?" asks Caiaphas. "Speak the sentence of 
 death upon Him as the law demandeth," exclaim the rest. " My sentence is," 
 answers Herod, " that He is a fool, and not capable of the crimes which ye have 
 laid to His charge. If He have done anything against you, then it must be attri- 
 buted to His simplicity." " O king," cries Caiaphas, disappointed and en- 
 raged, " take care that thou do not err ! " Herod answers, " I fear nothing. 
 He hath done penance for His folly. The court is closed." The rabbi makes 
 a last attempt to induce Herod to avert the " danger that threateneth the re- 
 hgion of Moses and the prophets." But Herod will not listen. "My word is 
 given ; " he adds, " I am tired, and will not burden myself any more with the 
 matter. Pilate may act according to his own judgment. Bear with ye greetings 
 and friendship from King Herod." He motions imperiously that the audience 
 is over. The priests leave the hall in a very discontented mood, crying, " He 
 must die ! He must die ! for He is the enemy of the fathers." By this time 
 Herod himself is by no means in a pleasant humour. He had expected to 
 derive more amusement from the captive. He descends from his throne, and, 
 addressing himself to his courtiers, remarks : " Things have not come up to 
 my expectation. I promised myself a most choice enjoyment, all about God 
 knoweth what sort of wondrous tricks ; and we saw simply a common-place 
 fellow, and did not hear a sound from His lips. This man is not a John. 
 John spake, and conversed with a wisdom and power which made one esteem 
 him. But this man is as dumb as a fish. But come ye, my friends," he 
 concludes, " this matter hath detained us long enough. Let us make up for 
 lost time with music and song." The curtain falls. 
 
 ACT XIII.— THE SCOURGING AND CROWNING. 
 
 Tableau I. Joseph's bloody coat brought home to Jacob. — Gen. xxxvii. 32. 
 Tableau II. The ram appointed for a sacrifice in the place of Isaac. — Gen. xxii. 13. 
 
 HE spectator has followed the Saviour on His "path of sorrow" 
 since the betrayal in Gethsemane, first to the house of the high- 
 priest Annas, then to Caiaphas, the Sanhedrim, to Pilate's, and 
 thence to King Herod. He now accompanies Him once more, on 
 His return to the Roman governor. The audience is prepared for the scenes 
 
ACT XIII.—THE SCOURGING AND CROWNING. 
 
 65 
 
 to follow by the address of the Choragus, which refers to the two Old Testa- 
 ment types that introduce them, namely, Joseph's bloody coat brought home 
 to Jacob, and the ram appointed as sacrifice in place of Isaac, ''^/as/" he 
 exclaims, " eternally lamentable is the scene presented to the gaze of Jesus' 
 followers. The body of the Lord is covered with wounds from the countless 
 blows of the scourge. His head is surrounded with a wreath of piercing thorns; 
 and, overspread with bloood, His countenance is scarcely recognizable. Who can 
 gaze on Him without that tears of the deepest sympathy roll down his cheeks? 
 How the father Jacob trembled when he saw the coat of his favourite boy, all 
 dripping with blood! How he wept, mourning with pain, with lamentations that 
 pierced the heart. Let us also weep when we see the Divine Friend of our souls 
 in pain; for, alas! it is for our sins that He is beaten and covered with 
 wounds'' The Chorus joins in song : — 
 
 Sie haben noch nicht ausgewuthet — 
 Nicht ist der Rache Durst gestillt 
 
 Nur iiber Mordgedanken brlitet 
 
 Die Schaar, von Satans Groll erfullt. 
 
 Kann diese Herzen denn nichts mehr er- 
 
 weichen ? 
 Auch nicht ein Leib, zerfleischt von Geissel- 
 
 streichen, 
 Mit Wunden ohne Zahl bedeckt ? 
 Ist nichts, was noch ein Mitleid weckt ? 
 
 Dark, murderous thoughts alone the heart 
 
 engage 
 Of'this vile crew, fill'd with satanic rage ; 
 Spurr'd on by anger, for revenge athirst, 
 They seek His death with envious tongue 
 
 accursed. 
 
 Can nothing melt these harden'd hearts of 
 vice, 
 E'en when His body by the scourge is torn? 
 Doth not the blood from all His wounds 
 sufifice 
 To stay their vengeance, or appease their 
 scorn ? 
 
 Tableau. — The first tableau represents the story of Joseph's bloody coat 
 brought home by the perjured brothers to their father Jacob. It is a con- 
 tinuation of two previous tableaux : the first, of the conspiracy among the 
 brothers, and their resolve to cast Joseph into the well ; and the second, of 
 the sale to the Midianite merchants. Two of the brothers are holding up the 
 bloody garment before the aged, sorrowing father. The Chorus express the 
 paternal grief in song : — 
 
 O ! welche schaudervolle Scene, 
 
 Des Josephs Rock mit Blut besprengt 
 Und an den Wangen Jakobs hangt 
 
 Der tiefsten Trauer heisse Thrane. 
 
 Wo ift mein Joseph ? meine Wonne ! 
 
 An dessen Aug' mein Auge ruht. 
 
 An diesem Rocke hangt das Blut, 
 Das Blut von Joseph — meinem Sohne. 
 
 Ein wildes Thier hat ihn zerrissen, 
 Zerissen meinen Liebling. Ach ! 
 Dir will ich nach — dir, Joseph ! nach ; 
 
 Kein Trost kann diess mein Leid versiissen : 
 
 Behold, a scene of direst woes ! 
 
 Young Joseph's coat, all stain'd with 
 blood. 
 
 While down good Jacob's cheeks a flood 
 Of bitter tears of anguish flows. 
 
 " Where is my Joseph ? He, my joy, 
 On whose eye still my fond looks rest ; 
 The blood-stains darken this, his vest— 
 
 The blood of Joseph — of my boy ! " 
 
 '* Some wild beast did his body rend ! 
 
 O, rent my darling — woe is me ! 
 
 Thee will I follow, Joseph, thee : 
 No comfort can my sorrows end ! " 
 
66 
 
 THE PASSION PLAY. 
 
 So jammert er — so wimmert er 
 
 Um Joseph — und er ist nicht mehr. 
 
 So wird auch Jesu Leib zerrissen 
 Mit wilder Wuth, 
 Sein kostbar Blut 
 
 In Stromen aus den Wunden flieszen. 
 
 Thus he laments, his heart is sore, 
 For Joseph he will see no more. 
 Thus, in wild rage, is torn also 
 Our Saviour good, 
 "Whose precious blood 
 Will from His wounds in hot streams flow ! 
 
 Second Tableau. — We see to the left, and elevated, the altar upon 
 which Isaac kneels in readiness for the sacrifice ; his hands are tied behind 
 his back, while Abraham has raised the knife to slay him. But an angel 
 holds back Abraham's arm ; and points to a ram that has got entangled in a 
 thicket. The Chorus explains the tableau : — 
 
 Abraham ! Abraham ! todt' ihn nicht. 
 
 Dein Glaube hat — so spricht 
 Jehova — ihn, den Einzigen gegeben : 
 Er soil nun wieder dein — zum Volker- 
 Gliicke leben. 
 
 Und Abra'm sah im Dorngestrauch 
 Verwickelt einen Widder steh'n ; 
 
 Er nahm, und opferte sogleich 
 Ihn, von Jehova ausersehn. 
 
 Ein gross Geheimniss zeigt diess Bild 
 Im heil'gen Dunkel noch verhiillt. 
 Wie dieses Opfer einst auf Moria, 
 Steht Jesus bald gekront mit Dornern da. 
 
 Der Dornbekronte wird fiir uns sein Leben, 
 "Wie es der Vater will, zum Opfer geben. 
 Wo trifift man eine Liebe an, 
 Die dieser Liebe gleichen kann ? 
 
 "Good, Abra'm, put him not to death ! 
 Thy great faith hath," Jehovah saith, 
 " Given back thine onlj'- son this day 
 To be his people's guide and stay." 
 
 And Abra'm in the bush espied 
 A ram entangled 'fore his eyes ; 
 
 This off'ering which the Lord supplied 
 He gave to Heaven as sacrifice. 
 
 A precious mystery doth this type contain 
 Which must awhile in holy gloom remain, 
 As once this victim on Moriah was found, 
 Will Jesus stand a "Victim thorn -becrown'd. 
 
 He, crown'd with thorns, for us His life 
 
 will give, 
 A precious offering — that we all may live. 
 O, where find we such love as this ! 
 He gives His life for others' bliss. 
 
 The Scourging. — After the Chorus has retired, Christ is again brought 
 before Pilate, who still finds Him guiltless. " By my honour," he says to the 
 people, " I cannot find any crime in Him." But the people are not satisfied 
 with this decision, and continually instigated by the Jewish priests, they 
 clamour all the louder for Christ's death. Evidently Pilate wants to let 
 Christ go if possible ; he tries to appease the people, and reminds them that, 
 as it is the custom at the feast of the Passover to give one criminal his free- 
 dom, they shall now choose between Christ and Barabbas. But the Jews are 
 determined to have Christ put to death, and they cry out : " He must die, He 
 is a blasphemer and a despiser of our law ; crucify Him, crucify Him ! " Finally 
 Pilate wavers, and sentences the captive to be scourged, hoping thereby to 
 appease the people. 
 
 The scourging takes place within the central stage, where we hear the 
 clamour and mockery of the soldiers, and, as the curtain ascends, see the last 
 scourge-blows falling upon the back of the Saviour, who is fastened to a stake. 
 His back is covered with blood ; and as soon as He is released from the pillar, 
 He falls senseless upon the ground. After rising again, the soldiers put on 
 Him a scarlet (red) robe, place a sceptre in His hand, and set Him upon a stool 
 
FIGURES FROM THE AMMERGAU THEATRE. 
 
 •1 
 
 '' MOSES.' 
 
 ^' CHRISTUS. ' 
 
ACT XIIL—THE SCOURGING AND CROWNING. 
 
 67 
 
 for a throne. All this in mockery. The brutality goes so far that one even 
 pushes Him off the stool ; and since His arms are bound, He falls heavily to 
 the ground. Just as rudely do they pick Him up, and " bump " Him upon His 
 throne again, saying, " Seat thyself, a king should not stand up." Then they 
 bring out a crown of thorns, and amid brutal exultation, set it upon the 
 Saviour's head, and to press it down firm, four hirelings take hold of the ends 
 of two sticks, and thus drive the crown down over Christ's brow, the blood 
 running over His countenance. Miss Patruban's description of this scene, 
 written with much delicacy and tenderness of heart, may here be quoted. 
 
 She says : "It is again still on the stage. We hear cries and laughter in the 
 distance, and the strokes of the scourge. The curtain slowly rises. What a 
 view is revealed ! Alas ! the painful sight is lost in a torrent of tears ! It is a 
 room in the judgment hall of Pilate. In the foreground stands the Saviour, 
 disrobed, bound to a pillar, bleeding, bearing the blows dealt by the unmer- 
 ciful barbarians. What a heart-moving sight His form presents ! Only a few 
 strokes fall after the curtain is raised — yet each pierces our heart. A slight 
 start at the fall of each blow, a slight tremor, the expression of pain on the 
 countenance, the gaze directed heavenward — alone testify of what He suffers." 
 The scene is acted as it was in the religious plays of the Middle Ages. The 
 soldiers who scourge and abuse the Lord make use of the same doggerel 
 verse as found in the very oldest versions of the drama. The following is an 
 example : — 
 
 Caspius. 
 
 Inputting aside the sconrge.'\ 
 
 Enough ! Enough ! Nor scourge'Him more ; 
 We've something else for Him in store. 
 
 • MiLO. 
 
 O Israel's king ! O what a plight ! 
 All o'er with blood ! A perfect fright ! 
 
 \Laughter. ] 
 
 Sabinus. 
 
 How can He be a monarch grand ? 
 Holds He no sceptre in His hand ? 
 Nor doth a crown His head adorn, 
 As should by every king be worn ; 
 
 Ruspius. 
 
 O wait, my friends, and I will bring 
 Fit gems for this, our Jewish king ! 
 
 MiLO. 
 We'll set Him out in proper style. 
 
 Sabinus. 
 
 Have patience, lord, a little while. 
 We are Thy servants all, and we 
 Will trim Thee up right royally. 
 
 Caspius. 
 {^Bringing a reed as sceptre. ] 
 See here, the veiy loveHest thing 
 To ornament our Jewish king ! 
 
 All. 
 
 Ha ! Ha ! How grand He looks ; How 
 
 fine ! 
 Knew'st not such honours could be thine ? 
 
 Sabinus. 
 Such as we pay to Thee to-day ! 
 
 Caspius. 
 {^Bringing a red mantle.'] 
 Now don the purple's grand array. 
 
 Sabinus. 
 
 But seat Thyself like all kings grand ; 
 It is not seemly that Thou stand. 
 
 MiLO. 
 
 [Bringing a crown of t/iorns.] 
 
 And here, a crown made wondrously : 
 Now let the people look at Thee ! 
 
68 
 
 THE PASSION PLAY. 
 
 DOMITIUS. 
 
 But set it on quite safe and sound, 
 Or else 'twill tumble to the ground. 
 
 MiLO. 
 
 'Twere pity for such beauteous crown — 
 Come, fellows, help me press it down. 
 [ TAejy press it down by means of two long 
 sticks. ] 
 
 Sabinus. 
 
 The royal staff completes His store ! 
 Now, King, Thou lackest nothing more. 
 
 Caspius. 
 
 How stately He appears ! O see ! 
 Our homage gracious king, to Thee ! 
 
 QUINTUS. 
 
 [Coming- from the palace of Pilate. 'X 
 
 Now let the prisoner be ta'en, 
 Before the judgment-seat again. 
 
 Sabinus. 
 [To Quintus.'\ 
 O, why disturbest thou our fun 
 Before our royal play is done ? 
 
 MiLO. 
 
 \To Christ.'] 
 
 Arise ! Now Thou wilt perhaps be led 
 To show the folk Thy royal head. 
 
 Sabinus. 
 
 O won't the Jews be mighty glad 
 To see their king so royal clad ? 
 
 Caspius. 
 
 [ To his fellows. ] 
 
 Enough ! Enough of regal sport : 
 Now let us take Him to the court. 
 [Christ is taken into the inner court; and 
 the curtain falls. \ 
 
 There are no mild features to the brutality of this scene, presented in 
 its full medieval characteristics. The rude treatment of the captive is carried 
 perhaps too far for a modern audience. On the other hand, the dignity of 
 Christ is never allowed to suffer. The comments of visitors are of interest 
 on this point. Speaking of the abused Saviour, when He is pushed to the 
 ground by the hirelings, Devrient says : " He falls so as not to detract from 
 His dignity, and the intended degradation of maltreatment reflects upon His 
 abusers." # 
 
 ACT XIV.— CHRIST SENTENCED TO DEATH. 
 
 Tableau I. Joseph made ruler over Egypt. — Genesis xii. 41. 
 Tableau II. The two goats as sin offerings. — Leviticus xvi. 7. 
 
 ' S seen from the preceding act, whilst Christ was being scourged 
 by Pilate's soldiers, the priests were at work inciting the people to 
 aid them in their efforts to bring about the death of the Saviour. 
 Pilate imagined that the scourging would fully satisfy the rage 
 the Sanhedrim ; but his mistake becomes apparent m the present act. The 
 Choragus introduces the first scene as follows : — " A very picture of misery 
 the Redeemer stands before us. Even Pilate himself is moved to sympathy 
 for Him. Hast thou still no mercy, foolish and deceived people 1 No I Infatu- 
 ated by the priests they cry out : ' To the cross with Him ' ' Nothing less than 
 the martyrdom and death of the Saviour will satisfy them ; whilst, for Barabbas 
 the murderer, they demand pardon ! O, how different did Joseph once stand 
 before the people of Egypt ! Songs of joy and gladness resounded on every side; 
 
ACT XIV.— CHRIST SENTENCED TO DEATH. 
 
 69 
 
 ^nd he was welcomed as the deliverer 
 the world a blinded people ceaseth not 
 utters the sentence : ' Take Him, and 
 
 Ach seht den Konig ! seht zum Hohne 
 <xekront ihn ! ach, mit welcher Krone ! 
 
 Und welch' ein Scepter in der Hand ! 
 
 Mit Purpur seht ihr ihn behangen ; 
 
 Ach ja ! im rothen Lappen prangen. 
 1st das des Konigs Festgewand ? 
 
 "Wo ist an ihm der Gottheit Spur ? 
 
 Ach ! welch ein Mensch ! 
 Ein Wurm — ein Spott der Henker nur. 
 
 of the land. But around the Saviour of 
 its clamour till the judge, rendered wroth, 
 crucify Him I ' " The Chorus sing : — 
 
 Behold the king ! Alas ! in rude disdain 
 The wretches crown Him with a wreath of 
 pain ! 
 
 A shameful sceptre place they in His hand, 
 In garments vile they make their victim 
 
 stand ! 
 Are these the jewels that a king should 
 
 wear? 
 And this the treatment that the Lord must 
 
 bear? 
 
 Behold the Man ! The scoff of hangmen 
 
 vile ; 
 Thus they abuse Him, and their hours 
 
 beguile. 
 
 First Tableau. — Joseph in Egypt, raised to honour by Pharaoh. The 
 stage is filled w^ith a great multitude of people ; the scene is Egypt, and the 
 pyramids are seen in the background. Upon a triumphal chariot Joseph 
 stands, crowned with laurel wreaths ; he is magnificently clad ; a golden chain 
 about his neck, and trumpeters announce his approach. Two slaves stand at 
 his side to protect his countenance from the sun. The grouping of the picture 
 can hardly be excelled. The connection of the tableau wvth Christ's death 
 and resurrection to glory is well exhibited : — 
 
 Behold the man ! 
 To sovereignty young Joseph's called. 
 Behold the man ! 
 
 Seht ! welch ein Mensch ! — 
 Zur Hoheit Joseph auserwahlt 
 
 Seht ! welch ein Mensch ! — 
 Zum Mideid Jesu vorgestellt. 
 
 Laut soil es durch Aegypten schallen : 
 Es lebe Joseph hoch und hehr ! 
 
 Und tausendfach soil's wiederhallen : 
 Aegpytens Vater — Freund ist er ! 
 
 Und Alles stimme — gross und klein — 
 In unsern frohen Jubel ein ! 
 
 Du bist Aegyptens Trost und Freude, 
 Ein Gluck, wie ihm noch keines war. 
 
 Dir, Joseph, bringt Aegypten heute 
 Die Huldigung voll Jubel dar. 
 
 Laut soil es durch Aegypten schallen, &c. 
 
 Als zweiter Landesvater thronet 
 Er nun in uns'rer Mitt und Brust ! 
 
 Der Herbes nur mit Segen lohnet — 
 Ihm Heil ! des Landes Stolz und Lust. 
 
 Laut soil es durch Aegypten schallen, &c. 
 
 See, in his fate is Christ's foretold. 
 
 Loud throughgreat Egypt's landshall sound, 
 Long live our Joseph, good and high ; 
 
 A thousand times let it resound : 
 
 Great Egypt's father, friend, our cry ! 
 
 And every one — whoe'er he be. 
 
 Join in our festal jubilee ! 
 
 Great Egypt's trust and joy art thou, 
 A blessing as we ne'er did see ? 
 
 And Egypt bringeth, Joseph, now 
 Its joyful homages to thee ! 
 
 Loud through great Egypt's land, &c. 
 
 Our country's second father, yea, 
 Who in our hearts shall e'er abide ; 
 
 The harsh with good he doth repay ; 
 All-hail ! Our country's joy and pride ! 
 
 Loud through great Egypt's land, &c. 
 
 Second Tableau. — The second tableau represents the fulfilment of the 
 sacrifice ordained by Jehovah, as recorded in Lev. xvi. 5-21 : " And the 
 Lord said unto Moses, speak unto Aaron thy brother. And he shall take 
 two goats for a sin offering, and present them before the Lord at the door of 
 
70 
 
 THE PASSION PLAY. 
 
 the tabernacle of the congregation. And shall cast lots upon them, one lot 
 for the Lord, and the other lot for the scapegoat. And shall bring the goat 
 upon which the Lord's lot fell, and offer him for a sin offering. But the goat on-! 
 which the lot fell to be the scapegoat, shall be presented alive before the 
 Lord, to make an atonement with him, and to let him go for a scapegoat into- 
 the wilderness. And the goat shall bear upon him all their iniquities into a 
 land not inhabited : and he shall let go the goat in the wilderness." The 
 tableau is typical of the choice between Jesus and Barabbas : the latter is- 
 suffered to escape, while the former is chosen of God as an offering for the 
 sins of the whole world. Whilst the picture is revealed the Chorus sings : — 
 
 In this, the ancient offering, see 
 
 A sacrifice by God's decree : 
 
 Two goats before the Lord w^ere brought, — 
 
 The one the lot did fall upon 
 
 By God was chosen as His own ; 
 
 Its blood for sinners pardon bought. 
 
 Jehovah, through the offer'd blood, 
 
 Be to Thy people once more good. 
 
 Through blood of goats no more the Lord: 
 Will e'er His precious grace afford ; 
 He now demands an offering new, 
 A sacrifice of purer hue. 
 A lamb from every blemish free, 
 Must the new covenant's off'ring be : 
 The Only Born the Lord requires : — 
 He comes, He suffers, falls, expires. 
 
 Whilst the Chorus of Schutzgeister are yet upon the proscenium, one 
 hears cries of the mob in the streets of Jerusalem. They are clamouring 
 for the death of the Saviour, and the release of Barabbas, just as they have 
 been instructed to do by the priesthood and their agents. They are still in 
 the background, and while the Chorus, before the audience, pleads for the 
 captive's life, the unseen multitude answer with fierce cries, demanding Hi& 
 death on the cross. This alternate singing, which forms a splendid antiphon, 
 contrasts the fury of blind passion with the calm pleading of innocence : — 
 Choragus : — I hear the murderer's fearful cry : 
 
 People : — Barabbas be from fetters free ! 
 
 Chorus : — No ; Jesus be from His bonds 
 
 Des alten Bundes Opfer diess, 
 
 Wie es Jehova bringen liess : 
 
 Zwei Bocke wurden vorgestellt, 
 
 Dariiber dann das Loos gef allt. 
 
 Wen sich Jehova, anserwahlt. 
 
 Jehova, durch das Opferblut 
 
 Sei deinem Volke wieder gut. 
 
 Das Blut der Bbcke will der Herr 
 
 Im neuen Bunde nimmermehr ; 
 
 Ein neues Opfer fordert er. 
 
 Ein Lamm von allem Makel rein 
 Muss dieses Bundes Opfer sein, 
 
 Den Eingebornen will der Herr ; 
 
 Bald kommt— bald f allt— bald blutet er. 
 
 People : — If thou dost let this miscreant 
 
 go. 
 Then thou art our great em- 
 peror's foe ! 
 
 C/^^r^/J•.•— Jerusalem ! Jerusalem ! 
 
 Choragus /—The blood of His Son will yet 
 the Lord avenge on you I 
 
 People: — His blood be on us, and on 
 our children too ! 
 
 free ! 
 
 Choragus : — Alas, wild cry the murderers 
 grim ! 
 
 People:— To th' cross with Him! To 
 th' cross with Him ! 
 
 Chorus : — Ah ! look at Him the guiltless 
 
 One, Chorus . 
 
 What evil can He e'er have 
 done ! 
 
 Christ Sentenced to Death.— In a previous scene Caiaphas has sent 
 his emissaries about Jerusalem to stir up the people to clamour. The crowd^ 
 
 -It fall on you, and on your 
 children too ! 
 
ACT XIV.— CHRIST SENTENCED TO DEATH. 7r 
 
 iinakes its appearance. The priests hope to intimidate Pilate to agree to their 
 demands. They take their stand before Pilate's house, Caiaphas and the 
 priests, Pharisees, &c., occupying the front. Pilate has had another inter- 
 view with Christ. He appears again upon his balcony, with a brilliant retinue, 
 and again tells the Jews that he finds no guilt in Jesus. In order to arouse 
 the sympathy of the people for the Galilean, he orders the thief Barabbas to 
 be brought out, placed by the side of Christ, hoping thereby that the people 
 will be induced to let Christ go, and have Barabbas put to death. A striking 
 contrast in the two figures ; Christ noble and imposing in appearance ; 
 iBarabbas the picture of depravity, a man grown grey in sin. But the people 
 cry out that Barabbas, and not Christ, shall be released. Pilate remains long 
 steadfast ; even his wife sends him word to release the Galilean ; but finally, 
 when the people threaten him with the displeasure of the emperor, he gives 
 way to the demands of the mob, that Barabbas be released and Christ cru- 
 cified. He orders water to be brought, saying, as he washes his hands, that 
 he will not be responsible for the blood of this innocent man. " Let the two 
 murderers who are in the prison be brought hither," he commands. " Let 
 the chief lictor deliver them without delay to the soldiery. They have merited 
 death — much more than the accused. The sentence of death shall be written 
 ^down and publicly announced." Pilate dictates something to his secretary. 
 While Pilate is thus engaged the soldiers emerge from the street that passes 
 by his house, bringing with them Christ and the two malefactors. He again 
 looks upon the scene beneath him, and says to the two malefactors : " To-day 
 will be the end of you and your crimes. Ye shall die on the cross. Let the 
 judgment of death now be announced." His secretary advances, and, in a 
 loud voice, reads : " I, Pontius Pilate, lieutenant of the mighty emperor, 
 Claudius Tiberius, in Judea, pronounce, at the importune demand of the 
 high-priests, of the Sanhedrim, and of the whole people of Judea, the judg- 
 ment of death upon a certain Jesus of Nazareth, who is accused of inciting 
 the people to revolt, of forbidding them to pay tribute to the emperor, and of 
 setting Himself up as King of the Jews. The same shall be nailed to the cross, 
 and put to death, outside the walls of the city, between two malefactors, who 
 are sentenced to death on account of a number of robberies and murders. 
 Done at Jerusalem, on the eve of the feast of Easter." He then breaks a 
 staff, turns quickly away from the scene, and enters the palace. " Triumph ! 
 The victory is ours," exclaims Caiaphas. " Away with Him to Golgotha," 
 shout priests and people. " The end of the Galilean is at hand ! " The mob 
 is in motion : Caiaphas, Annas, and the priests lead them to Golgotha. The 
 Roman soldiers follow them, escorting the condemned Saviour to Calvary. 
 Next to these follow the two thieves, strongly guarded and roughly abused. 
 
 Christ, however, receives more humane treatment at the hands of Pilate's 
 soldiers than He did from the guard of the Temple. Even in this apparently 
 unimportant detail the Ammergauers have made a clear distinction, con- 
 necting mere recruits with the Synagogue, whilst soldier-like men are placed 
 under command of Pilate's centurion. A multitude of the people of Jerusalem 
 vacloses the procession. Thus is the dreadful end brought about; thus, as^ 
 
72 THE PASSION PLAY. 
 
 Devrient has well expressed it, is the Ideal of all that is human fairly 
 pushed out of existence by this surging of passion, infatuation, and miserable 
 fickleness. 
 
 ACT XV.— CHRIST BEARS HIS CROSS TO GOLGOTHA. 
 
 Tableau I. Young Isaac bears the altar-wood up Mount Moriah. — Genesis xxii. 
 Tableau II. The Children of Israel bitten by the fiery serpents. — Numbers xxi. 6. 
 Tableau III. The Israelites look on the brazen serpent and are healed. — Num. xxi. 9. 
 
 'HE tragedy of Golgotha has a sad prelude in the spectacle of Christ 
 bearing His cross to the place of crucifixion. This scene is intro- 
 duced by three prophetic types, thus briefly explained. As young 
 Isaac once carried the wood up Mount Moriah for the altar 
 whereon he was to have been sacrificed, so Christ bears His own cross up the 
 rugged way to Golgotha. As once the children of Israel suffered from the 
 bites of the fiery serpents till Moses raised the brazen serpent for the people 
 to look upon and be healed, so humanity is tortured by the fiery serpents of 
 sin, until the Redeemer is raised up on the cross, and all who look to Him 
 and believe are healed. Says the Choragus : " The sentence of death wrung 
 from Pilate is pronounced. We see Jesus bowed down by the cross, staggering 
 to the place of skulls. Isaac once bore willingly up the mountain-side the wood 
 for the sacrifice, when he himself was to be the offering, acceding to the will of 
 Jehovah. Jesus, too, willingly bears the burden of the cross, which will become 
 a source of blessing and a tree of life through the sacrifice of His sacred body 
 upon it. For as the brazen serpent which Moses lifted up in the desert brought 
 healing to the children of Israel, so from the tree of the cross will proceed for 
 us blessing and salvation." The Chorus sings, introducing the tableaux, — 
 
 Betet an und habet Dank ! Give prayer and thanks with every breath,. 
 
 Der den Kelch der Leiden trank, For He who paths of sorrow trod 
 
 Geht nun in den Kreuzestod Goes now on to His bitter death, 
 
 Und versohnt die Welt mit Gott. To reconcile the world with God. 
 
 First Tableau. — Isaac is seen bearing the wood up the heights of 
 Moriah. Abraham is walking by his side. The Chorus sings : — 
 
 Wie das Opferholz getragen As Isaac bore the altar wood 
 Isaak selbst auf Moria, Up to the mount at Abra'm's hest ; 
 
 Wanket, mit dem Kreuz beladen. On Calvary's hill the Saviour good 
 Jesus hin nach Golgotha. Is with the cross's load oppress'd. 
 
 Betet an und habet Dank, &c. Thank the Lord with every breath, &c. 
 
 Second Tableau. — Moses elevates the brazen serpent upon a cross. If 
 the palm of beauty must be given to the tableau ofthe rain of manna, the 
 merit of skill in portraying misery must be accorded to the second of these 
 three tableaux, in which three hundred persons take part. 
 
ACT XV.^CHRIST BEARS HIS CROSS TO GOLGOTHA. 73 
 
 Angenagelt wird erhohet Nail'd and bruised they will raise 
 
 An dem Kreuz der Menschensohn, The Son of Man on th' cross on high ; 
 
 Hier an Moses Schlange sehet, On Moses' brazen serpent gaze, 
 
 Ihr des Kreuzes Vorbild schon. It doth that cross well typify. 
 
 Betet an und habet Dank, &c. Thank the Lord with every breath, &c. 
 
 Third Tableau. — The brazen serpent again. Moses stands near it, 
 pointing to it. Besides him stands Aaron. The Children of Israel all around ; 
 those bitten by the fiery serpents look upon the brazen one, and are healed. 
 The Chorus sings : — 
 
 Von den gift'gen Schlangenbissen Thereby from fiery serpents' sting 
 
 Ward dadurch das Volk befreit ! God did His chosen people heal, 
 
 So wird von dem Kreuze fliessen The cross of Christ to us will bring 
 
 Auf uns Heil und Seligkeit. All-heavenly bliss and grace and weal. 
 
 Betet an und habet Dank, &c. Thank the Lord with every breath, &c. 
 
 Christ Bearing the Cross.— From the gateway by the side of Pilate's 
 palace emerges a small group of men and women, walking slowly toward the 
 centre of the proscenium. Deep gloom overshadows their countenances. 
 This is especially true of Mary, the mother of Christ, who is the central figure 
 of the group. She is accompanied by the disciple John, Joseph of Arimathea, 
 Mary Magdalene, and other women, who have come to Jerusalem, to search 
 for. Christ, and to find out what the priests have done with Him. Suddenly 
 tumultuous cries are heard in the streets of Jerusalem. The searching group 
 become alarmed. "What is that? A fearful noise!" exclaims Joseph of 
 Arimathea. "As of a thousand voices!" adds a frightened maid-servant. 
 Looking down the street that passes by the palace of Annas, the audience 
 learns the cause of the alarm, although Mary and her friends cannot as yet 
 perceive it. Christ is bearing His cross to Golgotha. At first only a fraction 
 of the mob appears, shouting : " Away with Him ! He must die ! " Another 
 incident now attracts the attention of the spectators. The curtain of the 
 central stage has been raised, and the audience looks along another street of 
 Jerusalem, away down which is seen a strong, robust figure, clad in plain 
 costume, and bearing on his arm a carpenter's basket. It is Simon of Cyrene. 
 
 An incident of interest is here interwoven. We refer to the alleged biblical 
 origin of the legend of Ahasuerus, the Wandering Jew, who has become the 
 symbol of the Jewish people in their wanderings over the face of the globe. 
 At the very last house before the gateway, Christ, exhausted by the burthen 
 of the cross, would fain rest. But the door of the house suddenly opens, and 
 there appears a small, deformed specimen of humanity, whose features are 
 stamped with maliciousness. " Away from my house ; " he cries out at the 
 Saviour, "here is no place for Thee to rest ! " Christ gazes on the speaker 
 without uttering a word ; but His silence ancl look are significant of that curse 
 which legend has ever attached to the Wandering Jew. In earlier Passion 
 Plays this scene of Ahasuerus driving the Saviour away from his door had 
 much more scope given it, as is shown by the following verses from a mediaeval 
 manuscript : — 
 
74 THE PASSION PLAY. 
 
 Ahasuerus "^^ roam the world, struck by the curse. 
 And though thou never need'st of purse, 
 
 Away, thou Nazarene, away ; Nor garments tear by storm or wind. 
 
 Here is no place for Thee to stay ! Salvation thou shalt never find. 
 
 ~ And where thou art shalt find no rest, 
 
 CHRIST. Since thou didst not heed My request ; 
 
 I'll rest Me here a little while ; Nor shall death touch thy hoary head 
 
 But thou shalt be a grim exile. Until I come to judge the dead. 
 
 The entire procession has gradually come into full view. It is headed 
 by a Roman horseman, carrying the national standard, on which is read, 
 "S. P. Q. R." (Senatus Populusque Romanus). Then comes a centurion with 
 a company of soldiers, the immediate escort of the condemned Saviour, who, 
 still wearing the crown of thorns, bears the weight of His ponderous cross. 
 He is the central figure of the group, to which all eyes are attracted. He 
 moves slowly, staggering at every step, and, to all appearance, utterly 
 exhausted. But behind are His executioners, urging Him on by blows and 
 pushes, while the priests and the rabble attempt to accelerate His steps by 
 loud and jeering cries. Next to the executioners follow the two thieves con- 
 demned to be crucified with Christ, bearing crosses of a lighter construction 
 than the Saviour's. More soldiers, and the boisterous priesthood, led by 
 Caiaphas, Annas, and some of the prominent members of the Sanhedrim, 
 follow, and a great crowd of the people of Jerusalem, making at least five 
 hundred persons now before the spectator. The painfulness of the scene is 
 increased by the slow movement of the cortege, caused by the weakness of the 
 condemned, who, at last, completely exhausted. His countenance covered with 
 blood, is unable to proceed even under the goading of the executioners. He 
 staggers, and, borne down by the cross, falls heavily to the ground. On the 
 opposite side of the proscenium stand Mary and her friends. The next 
 moment reveals to them the fearful reality as to Who is being taken to death. 
 The mother is the first to discover the cruel fact. " It is He," she exclaims. 
 " God, my God ! It is my son ! It is my Jesus ! " Unable to bear the ex- 
 citement, she sinks back into the arms of her attendants. Jesus falls 
 exhausted, to the vexation of the executioners, who long to be at their work, 
 and to the mortification of the priesthood. The Roman centurion shows a 
 more humane disposition. He motions to the executioners to desist, and, 
 handing Christ a flagon, says : " Here, refresh Thyself! " Jesus tries to rise, 
 but cannot. The priests and Pharisees are incensed at the delay, which might 
 be still greater, were not Simon of Cyrene espied by the chief rabbi. They 
 remove the heavy cross from Christ, and place it upon the carpenter. A ray 
 of joy seems to glide over the features of the new captive as he feels the 
 weight of the cross. " Oh," he exclaims, " out of love to Thee will I bear it. 
 Would that I could be of service to Thee ! " " The blessing of God be upon 
 thee and thine," is Christ's answer and thanks. The centurion commands 
 that the cortege be again set in motion. The procession moves on, but not 
 fast enough for the executioners and priests. "Now," one of the former says 
 to Christ, ^' Thou canst move Thy feet a little quicker." Another would abuse 
 
ACT XV,— CHRIST BEARS HIS CROSS TO GOLGOTHA. 75 
 
 Him ; but the centurion bids him, " Cease ! All goeth well now. We will 
 rest here awhile. The Man needeth a short respite before He ascendeth the 
 hill of death." " What ! More delay ? " exclaims Caiaphas, irritated at the 
 many hindrances in reaching the place of execution. 
 
 While the procession is resting another scene occupies the attention of 
 the audience. From the street in the central stage a number of women of 
 Jerusalem appear, weeping at the Saviour's fate. Among them is the legendary 
 Veronica, who, advancing towards Christ, says : " O Lord ! Thy countenance 
 is all covered with sweat and blood ! Wilt Thou not take this," handing Him 
 a linen-cloth, " to wipe Thyself! " He takes the cloth, presses it to His face, 
 and returns it to Veronica, who finds upon it the imprint of the Redeemer's 
 features. [This scene was omitted in the later performances of the year 
 1871, on account of its legendary character, and, perhaps, in order not to give 
 offence to other creeds.] Christ turns towards the women, and saying: 
 " Daughters of Jerusalem ! Weep not for Me, but weep for yourselves, and 
 for your children. For, behold, the days are coming, in the which they shall 
 say, Blessed are the barren, and the wombs that never bare, and the breasts 
 that never gave suck. Then shall they begin to say to the mountains. Fall 
 on us ; and to the hills, Cover us! For if they do these things in a green 
 tree, what shall be done in the dry." " Remove now these women-folk," 
 commands the centurion. And the executioner rudely obeys the order. The 
 procession is again in motion, and slowly the cortege of death passes away. 
 
 On the opposite side of the proscenium the little group about Mary still 
 remains. The mother is supported by Magdalene and the other women. 
 She has seen her Son. The Son has seen His mother ; but no words of 
 greeting have passed between them, though tears have not alone flowed from 
 Mary's eyes. The procession is now entirely out of sight. It is at this juncture 
 that John says to Mary : " Come, beloved mother, let us return to Bethany. 
 Thou wilt not be able to bear the sight ! " She, true to her maternal instinct, 
 responds : " Can a mother part from her child in the time of danger — of 
 bitterest need ? I will suffer with Him, I will share His elevation and degra- 
 dation ; will die with Him. I have prayed to God for strength," she answers. 
 "The Lord hath heard me. We will follow !" " Mother," say all the mem- 
 bers of the little group, " we follow thee." 
 
76 
 
 THE PASSION PLAY. 
 
 ACT XVI.— THE CRUCIFIXION. 
 
 Three crosses in the noon-day night up- 
 lifted, 
 Three human figures, that in mortal pain. 
 Gleam white against the supernatural dark- 
 ness ! 
 Two thieves that writhe in torture, and 
 
 between them 
 The suffering Messiah, the Son of Joseph, 
 Ay, the Messiah Triumphant, Son of David! 
 
 on that dishoaour'd 
 the sick, now 
 
 A crown of thorns 
 
 head ! 
 Those hands that heal'd 
 
 pierced with nails, 
 Those feet that wander'd homeless through 
 
 the world 
 Now cross'd and bleeding, and at rest for 
 
 ever. 
 
 Lomy-fellow. 
 
 HE climax of the Ammergau drama is reached. On all previous 
 occasions the Chorus of Schutzgeister have appeared on the pro- 
 scenium, clad in their rainbow-coloured robes. In the first acts 
 their countenances beamed with joy for the glad tidings they had 
 to impart. In the present act, however, they have ceased to rejoice, and have 
 donned the garb of mourning, as an expression of their sorrow for the Lamb 
 that is taken to the slaughter. Slowly they take their accustomed places 
 before the audience, when the Choragus addresses to the spectators the fol- 
 lowing verses, accompanied by soft, sad music, while the whole band joins in 
 the concluding chorus : — 
 
 § 
 
 Auf, fromme Seelen, auf und gehet 
 Von Reue, Schmerz und Dank durchgliiht, 
 Mit mir zu Golgatha, und sehet. 
 Was hier zu eurem Heil geschieht. 
 Dort stirbt der Mittler zwischen Gott 
 Und Sunder den Vermittlungstod. 
 
 Ach ! nackt, von Wunden nur bekleidet, 
 
 Liegt er hier bald am Kreuz fiir dich ; 
 
 Die Rache der Gottlosen weidet 
 
 An seiner Blosse frevelnd sich, 
 Und er, der dich, o Sunder, liebt, 
 Schweigt, leidet, duldet und vergibt. 
 
 Ich hor' schon seine Glieder krachen, 
 Die man aus den Gelenken zerrt, 
 Wem soil's das Herz nicht beben machen, 
 Wenn er den Streich des Hammers hort^ 
 
 Der schmetternd, ach ! durch Hand und 
 Fusz, 
 
 Grausame Nagel treiben musz. 
 
 Arise, ye pious souls, and come, 
 While penitence your hearts inspire, 
 With me, and see, 'mid Calvary's gloom. 
 What for your saving doth transpire : 
 There, for your sins, the Lord doth give 
 His life that all the world may live. 
 
 See, naked, and with wounds all o'er 
 
 He suifers on the cross for thee ; 
 
 On Him the godless insult pour. 
 
 And gloat upon His misery. 
 
 And He who loves each one that lives. 
 Is silent, suffers, and — forgives. 
 
 I hear His tender limbs give way 
 As they from out their joints are broke ; 
 Whose heart fills not with dread dismay 
 When he now hears the hammer's stroke. 
 
 Which, through His precious hands and 
 feet 
 
 The large and painful nails must beat. 
 
 During these words heavy hammer-blows are heard behind the scenes. 
 The executioners are nailing Christ to the cross. The Choragus continues, as 
 the curtain ascends: — 
 
 Auf, fromme Seelen ! naht dem Lamme Come, pious souls, the Lamb draw nigh. 
 
 Das sich fiir euch freiwillig schenkt. Who gives His life so willingly ; 
 
 Betrachtet es am Kreuzesstamme : Upon the cross suspended high 
 
 Seht, zwischen M order aufgehangt Between two malefactors, see, 
 
 Gibt Gottes Sohn sein Blut, und ihr — God's Son His sacred blood doth shed. 
 
 Gebt keine Thrane ihm dafiir ? And ye? Have ye no tears instead ? 
 
ACT XVI.— THE CRUCIFIXION. 77 
 
 Selbst seinen Mordem zu vergeben, Yea, e'en His murderers to forgive, 
 
 Hort man ihn gleich zum Vater fleh'n, We hear Him pray with dying breath ; 
 
 Und bald, bald endigt er sein Leben, Soon He for us His life will give 
 
 Damit wir ew'gem Tod entgeh'n. To free us from eternal death. 
 
 Durch seine Seite dringt ein Speer Yea, through His side the spear doth bore, 
 
 Und offnet uns sein Herz noch mehr. And opens up His heart still more. 
 
 The Choragus sings, joined in the last four lines by the whole Chorus: — 
 
 Wer kann die hohe Liebe fassen, Who can such love as His conceive, 
 
 Die bis zum Tode liebt, , That loveth unto death ; 
 
 Und statt der Morder Schaar zu hassen, Who 'stead of hating can forgive 
 
 Noch segnend ihr vergibt. His foes with dying breath ! 
 
 O bringet dieser Liebe O bring as offering to this love 
 
 Nur fromme Herzenstriebe The thanks that every heart should move ; 
 
 Am Kreuzaltar And lay it, while the Saviour dies, 
 
 Zum Opfer dar. Before the cross as sacrifice. 
 
 The Crucifixion. — The Schutzgeister retire from the proscenium, and 
 the rising curtain reveals the scene on Calvary, the most intense portraiture 
 of the entire drama. The two malefactors already hang on their crosses. 
 On the ground, with the head slightly elevated, is a larger cross on which the 
 Saviour is nailed. An executioner takes the inscription and nails it to the 
 cross, above the head of Christ ; and then he calls his companions, who raise 
 the cross to an upright position. The participants in the scene take up their 
 position in front and at either side of the crosses, while many of Christ's near 
 friends are seen in the distant background. The Roman soldiers take up their 
 position in line to the right of the scene ; the priests and Pharisees stand 
 at the left. Many of the Jewish people are among the lookers-on. The 
 scene of the " three crosses in the noon-day night uplifted " is one producing 
 the most incomprehensible feelings in the heart of the spectator. He gazes 
 on the scene in deep amazement, doubting for the rnoment whether it is 
 the reality or acting that he is witnessing. "Are we not," asks Devrient, 
 " transported back more than eighteen hundred years to the hill of Calvary, 
 outside the walls of Jerusalem? " The figure of Christ is the object on which 
 all eyes centre. The two thieves are simply tied to their crosses, having 
 their arms thrown back over those of the crosses for support. Christ, how- 
 ever, is placed upon His cross in a manner corresponding to the reality ; His 
 arms are stretched at full length and His hands and feet apparently pierced 
 with nails ; His whole form and countenance express the severest torture ; 
 and, as remarked, it is difficult to believe He is not actually nailed to the 
 cross, as no trace of any ligament can be discerned. The impression created 
 is intensely affecting. 
 
 The priests are overjoyed at the result they have at last attained, 
 until they perceive the inscription on the cross, "THIS IS JESUS OF 
 NAZARETH, THE KING OF THE JEWS ! " Caiaphas is incensed at the 
 insult ; and sends messengers to Pilate, demanding that the inscription be 
 changed to the words, " I am the King of the Jews ! " Caiaphas, determined 
 to know for a certainty that the enemy of the Synagogue is dead, bids them 
 
78 THE PASSION PLAY. 
 
 likewise : " Request Pilate to command that the limbs of the crucified be 
 broken, and that the bodies be taken down from the crosses before the eve 
 of the feast." The messengers soon return with a refusal. "What I have 
 caused to be written remaineth written," is Pilate's reply to their request. 
 As to the breaking of the limbs, about which Caiaphas is very anxious, Pilate 
 tells the messengers that his servants will receive the necessary orders. 
 
 The minutest incident connected with the crucifixion is carried out as 
 mentioned in the Gospel narrative, even to the casting of lots for the Saviour's 
 garments by the executioners, as recorded by St. Mark. The priests and the 
 mob do not cease to ridicule their foe, though he is nailed to the cross. The 
 priest Joshua ironically looks up at Christ, and reads the inscription : " ' King 
 of the Jews ? ' Ah ! If thou art the king in Israel, descend now from the 
 cross, so that we may see and believe." " He saved others," says Caiaphas, 
 "Himself He cannot save." Annas exclaims: " He trusted in God : let Him 
 deliver Him now, if He will have Him : for He said, ' I am the Son of God ! ' " 
 " Father forgive them, for they know not what they do ! " is the Redeemer's 
 prayer for His remorseless enemies. The thief on the left of the Crucified 
 calls out in rude tones to Him : " Yea, if thou be the Christ save thyself and 
 us ! " But the other malefactor believes on the Lord, and cries out, " Lord, 
 remember me when thou comest into Thy kingdom ! " And Christ looks 
 tenderly upon the repentant man, saying : " Verily I say unto thee, to-day 
 thou shalt be with me in Paradise ! " To the audience the scene is of painful 
 interest. Christ has already been several minutes on the cross, and the 
 spectators feel that the crucified before them cannot possibly remain longer 
 in his position. The sobs of the audience mingle with those of the players. 
 
 Back of the cross, stands Mary, surrounded by her friends, all weeping 
 bitterly. They wish to approach the scene of agony, and the Roman centu- 
 rion commands that the space about the foot of the cross be cleared for the 
 friends and relatives of the crucified. The soldiers do his bidding, and the 
 priests retire somewhat, murmuring loudly, and Mary and her friends come 
 forward. Mary Magdalene stands near the foot ; a little to the right is the 
 Virgin. Behind her are Joseph of Arimathea, the venerable Nicodemus, and 
 the apostle John — the only disciple present. Lazarus stands to the left. 
 The other men and women of the little band stand in groups with those of 
 Jerusalem. Christ looks down upon His mother and upon the beloved dis- 
 ciple with a gaze of indescribable tenderness, and says : " Woman, behold 
 thy son ! " And to John : " Son, behold thy mother ! " " After this," St. 
 John relates, " Jesus knowing that all things were now accomplished, that 
 the Scriptures might be fulfilled, saith, I thirst ! " " He is athirst," says the 
 centurion, " and calleth for water." He commands that the cravings of the 
 Sufferer be satisfied. "And they filled a sponge with vinegar, and put it 
 upon hyssop, and put it to His mouth." But the sponge has barely touched 
 Christ's lips before He raises His eyes suddenly to Heaven, and cries aloud, 
 " Eli, Eli, lama sabachthani — My God, my God, why hast Thou forsaken me ?" 
 " What doth He mean ? " ask two of the Pharisees. " He calleth for Elias," 
 replies another. " Let us see if Elias will come to take Him down," ironically 
 
ACT XVI.— THE CRUCIFIXION. 79 
 
 exclaims Caiaphas. The end approaches. The convulsive movements that 
 agitate the body announce dissolution. He again lifts up His countenance 
 and cries with a loud voice, " It is finished ! O Father ! Into thy hands I 
 commend my spirit." The Saviour's head sinks heavily upon His breast. The 
 body is motionless. The struggle is over ! 
 
 But at the same time the elements of nature are unloosed. The earth 
 quakes, the thunder rolls, and darkness spreads over the scene. Indescrib- 
 able fear seizes the Jewish spectators. The Roman centurion, awed by the 
 supernatural events, exclaims : " Truly this was a righteous man ! Truly He 
 is the Son of God." A servant of the Temple rushes in and announces that the 
 curtain of the Sanctuary is rent in twain." Even the priesthood are not free 
 from fear, although Caiaphas would attribute the phenomena to the agency 
 of Beelzebub rather than to Jehovah. " Let us go," Caiaphas adds, " and see 
 what hath taken place ! But I will immediately return, for I cannot rest until 
 I have seen the limbs broken, and the bodies cast into the deep grave of male- 
 factors." Caiaphas is once more doomed to have His plans thwarted. The 
 executioners have orders to break the limbs of the crucified ; an action done 
 somewhat imperfectly. Christ being already dead. His corpse is spared by 
 the centurion, who, however, to make sure that the Saviour is dead, pierces His 
 side with his lance. The executioners take down the two thieves from the 
 cross, and are about to take down the body of Christ, when Joseph of Arima- 
 thea appears with the permission from Pilate to take the corpse away and 
 bury it. The executioners and soldiers then retire, leaving Nicodemus, 
 Joseph of Arimathea, John, and the women to do the work of love. 
 
 The Descent from the Cross. — The scene of the descent from the 
 cross is one demanding peculiar skill and patience on the part of all engaged 
 in it. Christ has already been suspended upon the cross over twenty 
 minutes ; His limbs are stiffened, and He has to be moved with the tenderest 
 care. The women stand about the cross, and look on as the men proceed to 
 take down the body. Mary, exhausted by grief, seats herself on a rock near 
 by. The scene, as a whole, is copied from Rubens' celebrated picture, 
 though it differs from the latter in many details. The action is done with 
 delicacy of feeling and tenderness peculiar to all that the Ammergauers have 
 to do in connection with Christ. Two ladders are placed against the cross ; 
 a short one at the front, and another at the back reaching to its full height. 
 Joseph of Arimathea mounts the one in front, holding in his hand a roll of 
 linen-cloth rolled in from both ends. Nicodemus has ascended the ladder at 
 the back of the cross. Joseph of Arimathea reaches one end of the linen- 
 cloth, after passing it under the left arm of the crucified. Nicodemus passes 
 it over the left arm of the cross, and then lets it fall to the ground. Joseph 
 pa;sses the other end under the right arm, and Nicodemus allows it to fall 
 over the cross to the ground. Simon of Bethany now holds one end, and a 
 servant of Joseph of Arimathea, who is to prevent the body from falling, holds 
 the other. Nicodemus then tenderly takes the crown of thorns from the 
 Saviour's head, and reaches it to a servant, who places it at the feet of the 
 mother. He then draws out the nails from the hands, and in a moment one 
 
8o THE PASSION PLAY. 
 
 arm is freed, and taken by Joseph of Arlmathea upon his shoulder. The 
 other arm is released by Nicodemus, and received by Joseph of Arimathea in 
 the same manner, so that the body now rests entirely upon the latter's 
 shoulders, at the same time that it is supported by the cloth, " O come, thou 
 precious, sacred burthen ! " exclaims Joseph, as he feels the weight of the 
 corpse upon him. " Come upon my shoulders ! " The feet are still fastened 
 to the cross ; and whilst Joseph bears up the body, Nicodemus draws out the 
 nails. John takes the feet of the body, and Lazarus reaches up his arms to 
 receive it, saying: "Come, sacred body of the dearest friend! Let me em- 
 brace Thee ! O how hath the rage of the foe maltreated Thee ! " The linen 
 is removed, and the body, which is tenderly and reverently borne away by the 
 four, Nicodemus, Joseph, John, and Lazarus, and laid with great care upon a 
 white linen-cloth which the servants have spread before the mother, who 
 takes the Saviour's head in her hands. " O my son," exclaims the weeping 
 woman, as she bends over the dead, "how covered with wounds is Thy body." 
 John comforts her with these words : " Mother, from these wounds flowed 
 the fulness of blessing for all mankind." Mary Magdalene kneels at 
 the left side of the body. The anointing of the body is then performed. 
 The body is then wrapped in the linen-cloth, and the four men bear 
 it away to the sepulchre, followed by the sorrowing women. In the 
 background is seen the garden. In the centre is a huge rock, wherein 
 the tomb has been hewn. The corpse is laid in its resting-place with no 
 other services than these simple words: " Friend, rest in peace in the sepul- 
 chre ! " " Let us now retire," says John. " Come, beloved mother " — John, 
 Mary, and the women leave the garden, slowly, whilst Joseph of Arimathea 
 and Nicodemus remain behind to place the stone before the door of the sepul- 
 chre. "After the festival," Nicodemus remarks, " we will complete our 
 labour of love ! " " Friend," responds Joseph, " let us lament the death of 
 the Beloved !" And Nicodemus replies: — 
 
 " O this good man, so full of truth and grace, 
 How did he then deserve so sad a fate ! " 
 
 ACT XVII.— THE RESURRECTION. 
 
 Tableau I. Jonas cast on dry land by the whale. — Jonah ii. lo. 
 Tableau II. The Israelites cross the Red Sea in safety. — Exodus xiv. 
 
 HE Passion drama does not conclude with Golgotha. The scene 
 of the resurrection is prefigured by two Old Testament tableaux : 
 the prophet Jonah cast on dry land by the fish, a type alluded to 
 by Christ Himself in speaking of His resurrection. The second 
 represents the Israelites led safely by Moses across the Red Sea, whilst the 
 waters engulph the pursuing hosts of Pharaoh. The Chorus of Schutzgeister 
 appear once more. They have laid aside their mourning, donned their apparel 
 of rainbow hues, and assumed their usual joyousness. The Choragus delivers 
 
ACT XVII.— THE RESURRECTION. 81 
 
 his address, in which he refers to the connection of type and fulfilment, and 
 concludes with words expressive of the hope that all present may finally unite 
 around the throne of Him whose sufferings, death, and glorification have been 
 the subject of the concluding dramatic labours. ""All is finished .' " he says. 
 *' Peace and joy are ours. His conflict hath brought us freedom ; His death 
 hath brought us life eternal ! Oh, the heart of the redeemed should be inspired 
 with gratitude and love to the Redeemer. Lowered into the tomb the Saviour 
 rests ; but it is only a brief repose. The body of the Anointed will not be 
 touched by decay ; but will again rise with renewed life. Jonah, the prophet, 
 came out of the belly of the whale after three days. Israel passed victoriously 
 through the waves of the Red Sea, while the pursuing foe was destroyed. Thus 
 will the Lord rend with His might the portal of the tomb ; from the gloom of 
 night He will rise in glory, beaming with tight, to the consternation of His 
 enemies. Let the sight of the Risen One inspire your hearts with joy and hope. 
 Return to your homes, O friends, filled with the tenderest love for Him who 
 loved you even unto death, who still loveth you, and will love you eternally in 
 Heaven. About His celestial throne resoundeth the eternal song of this victory, 
 'Praise to the Lamb, who for the world was slain!' There, united about the 
 Saviour, we shall all see each other again.'' The Chorus join with the 
 Choragus in the following chant : — 
 
 Liebe ! Liebe ! In dem Blute Oh, Love divine ! With godlike migh 
 
 Kampftest Du mit Gottes Muthe That fought, in flesh, the bitter fight, 
 
 Deinen grossen Kampf hinaus. Unto the bitter end ! 
 
 Liebe ! Du gabst selbst das Leben Oh, Love, that wilHngly did give 
 
 Fiir uns Sunder willig hin : Its life that sinners all might live, 
 
 Stets soil uns vor Augen schweben And grace for them obtain'd : 
 
 Deiner Liebe hoher Sinn. For evermore before our eyes 
 
 Shall rise this glorious sacrifice. 
 
 Ruke sanft nun, heil'ge Hiille, Now rest, O sacred frame, O rest. 
 
 In des Felsengrabes Stille Within the silent earth's calm breast, 
 
 Von den heissen Leiden aus ! Thy sufferings all o'er ; 
 
 Ruhe sanft im Schooss der Erde, Released from all terrestrial pain. 
 
 Bis Du wirst verklaret sein. Rest until Thou, on Calvary slain, 
 
 Der Verwesung Moder werde Shalt rise to life once more. 
 
 Nie Dein heiliges Gebein. For foul decay will ne'er betide 
 
 Thy sacred body crucified. 
 
 First Tableau. — The resurrection of Christ is prefigured in the picture 
 of the prophet Jonah being cast by the whale upon dry land. In the back- 
 ground of the central stage we see the troubled sea, upon which a boat sails. 
 Jonah is seen just stepping out of the whale's mouth upon the dry land. The 
 Chorus sings : — 
 
 Wie Jonas in des Fisches Bauche — As Jonah once within the whale— 
 
 So ruhet in der Erde Schooss So rests within the earth's great womb 
 
 Des Menschen Sohn. — Mit einem Hauche The Son of Man — He rends the veil, 
 
 Reisst Bande er und Siegel los. The bonds and seals about His tomb ! 
 
 Triumph ! Triumph ! Er wurd ersteh'n. Triumph ! Triumph ! He will arise ! 
 
 Wie Jonas aus des Fisches Bauch, As Jonah from the fish's maw. 
 
 So wird der Sohn des Menschen auch So Christ the Son will rise also, 
 
 Neu lebend aus dem Grabe geh'n. From out the grave, where now He lies. 
 
82 THE PASSION PLAY. 
 
 Second Tableau. — The children of Israel have already crossed the Red 
 Sea in safety. The hosts of Pharaoh attempt to follow them, but the waves 
 have closed in, and engulphed them. The scene is well represented; between 
 the surging waves we see the drowning warriors, the sinking chariots, &c. 
 Moses and the children of Israel stand upon the banks, looking on the scene. 
 Like as the Israelites came saved from amid the waves, so will Christ come 
 forth as victor through death and the grave, while His enemies will be 
 destroyed. The Chorus sings : — 
 
 Gross ist der Herr ! Gross seine Giite ! The Lord is great ! the Lord is good ! 
 
 Er nahm sich seines Volkes an. He made Himself His people's stay. 
 
 Er fiihrte durch der Wogen Mitte He once led Israel through the flood 
 
 Einst Israel auf trockner Bahn. Through dangers great, on solid way. 
 
 Triumph, der todt war, wird ersteh'n ; Oh, triumph ! He who died will rise ; 
 
 Ihn decket nicht des Todes Nacht. No power o'er Him has death's dark 
 
 Neu lebend wird aus eigner Macht. night, 
 
 Der Sieger aus dem Grabe geh'n. New living by His own great might, 
 
 As Victor from the grave He'll rise 
 
 The Resurrection. — The ascending curtain reveals four soldiers watch- 
 ing at the closed and sealed grave ; they are speaking with one another 
 about the fearful phenomena connected with the crucifixion. Finally, they 
 fall asleep. Suddenly an earthquake is felt ; the stone falls from before the 
 sepulchre, and Christ rises majestically from the grave, steps out, and dis- 
 appears. The soldiers are dumb with terror, but after some time gather up 
 courage enough to examine the grave, and find that the occupant has dis- 
 appeared. Then come a number of the women, bearing costly ointment, 
 wherewith to embalm the body ; but they, too, find it no more. Entering the 
 garden, they express fears about being able to remove the large stone from 
 before the grave ; but they find it already fallen, and their sadness increases 
 when they cannot find the Master. An angel appears from the depth of the 
 grave, and tells them that they should go to Galilee, where they would find 
 the arisen One. Soon, too, come the Pharisees, and let the watchers tell them 
 all they know about the event. They offer money to induce the soldiers to 
 lie, and to say, "While we slept the disciples came and took away His body.'* 
 The soldiers refuse at first to do this, fearing punishment ; but the Pharisees 
 promise that they will prevent any punishment. One of the soldiers remains 
 steadfast, however, saying : " By my honour, I will relate it just as it took 
 place.'' 
 
 Then comes the scene in which Christ appears to Mary Magdalene, who 
 is lamenting the loss of her Lord and Master, and is seeking Him. She 
 reclines against the sepulchre, when Jesus appears before her, though she 
 does not know it. He addresses her, " Woman, why weepest thou ? Whom 
 seekest thou ? " And Mary, without lifting her eyes, and thinking that it is 
 the gardener who has spoken, replies : " O master if thou ha«t taken Him 
 
 away, then tell me where thou hast laid Him, that I may once more " 
 
 " Mary ! " answers the mysterious form, with a gentle voice. That single 
 word enables her to recognize Him. She leaps for joy, and cries : " O that is 
 
ACT XVIIL—THE ASCENSION. 83 
 
 His voice ! " She hastens towards Him, and throws herself at His feet to 
 embrace them, as she exclaims : " Rabboni ! " " Touch me not," says Christ, 
 ^'for I am not yet ascended to my Father ; but go to my brethren, and say 
 unto them, I ascend unto my Father, and your Father, and to my God and 
 your God." " Beloved Teacher ! " she replies, bowing her head to the ground. 
 When she looks up again. He has disappeared. She, however, knows that 
 she has seen Him, her beloved Redeemer, and, full of joy, says : — 
 
 " But I have seen His face, O, could I cry aloud through all the world. 
 
 Have heard His voice ! O moment this of So that the mountains, valleys, rocks, and 
 
 bliss ! woods, 
 
 Away all sorrows and all darksome fears ! And Heaven and earth give back their 
 My soul is fill'd with joys of Paradise ! echoes : 
 
 Now I will hasten, as though borne aloft, Hallelujah ! He is risen ! " 
 And to the brethren as on wings will speed, \^Echo from all sides. 
 
 And bear the message He hath given to me. *' Hallelujah ! He is risen !" 
 Tell them the Lord is now among the living ! 
 
 ACT XVni.— THE ASCENSION. 
 
 is risen ! " The Chorus enter upon the proscenium for the last 
 time, to announce the glad tidings of the event witnessed in the 
 preceding act. " He is risen ! " says the Choragus, his face 
 beaming with joy as he delivers his last message to the assembled 
 thousands of spectators. " ^^^g and be glad, ye heavenly hosts ! He is risen I 
 Sing and be glad, ye mortals on earth .' The scion from the house ofJudah hath 
 ■crushed the head of the serpent. Our faith is firmly established. Most blissful 
 hopes are awakened in our breasts by the type and pledge of our own future resur- 
 rection ! Sing in exultant tones : ' Hallelujah ! ' We saw him enter Jerusalem, 
 full of meekness, alas, to meet with the deepest humiliation. Now, let us gaze, 
 before we separate, upon the triumphant festival of victory! Behold Him as He 
 ascends to the highest glory. Full of heavenly majesty He enters the New Jeru- 
 salem, where He will gather together all those whom He hath purchased with His 
 Blood."" The entire Chorus joins in a joyous hymn of praise and victory, 
 which introduces the closing tableau — the Ascension : — 
 
 Hallelujah ! Hallelujah ! 
 
 Ueberwunden— iiberwunden Hallelujah! now victorious, 
 
 Hat der Held der Feinde Macht. Breaks the Lord the hostile might ! 
 
 Er — er schlummerte nur Stunden He the Hero great and glorious 
 
 In der diistern Grabesnacht. Lifts the grave's sad gloom of night ! 
 
 Singet Ihm in heil'gen Psalmen ! In thrilling psalm of joy adore Him, 
 
 5treuet Ihm des Sieges Palmen ! Strew the victor's palms before Him, — 
 
 Auferstanden ist der Herr ! For the Lord is now arisen ! 
 
 lauchzet Ihm, ihr Himmel zu ! Praise Him in song ye Heavens above ! 
 
 Sing' dem Sieger, Erde du ! Praise Him all ye on earth that move ! 
 
 Halleluja Dir Erstandner ! Hallelujah ! He is risen ! 
 
 The Ascension. — Still singing its song of praise and victory, the Chorus 
 retire a few paces, in order, to direct the gaze of the audience to the tableau 
 
 G 
 
84 THE PASSION PLAY. 
 
 now revealed in the central stage. In the middle of a company of his friends 
 and disciples, the risen Christ, clad in the same brilliant apparel with which 
 He rose from the grave, stands on the brow of Olivet, holding in His left 
 hand a banner emblematical of victory, whilst His right hand is raised as if 
 to bless those who bow at His feet or stand about Him as witnesses of His 
 glorious ascension. On either side of Him, and pointing to His person, are 
 the two angelic figures mentioned in the Acts of the Apostles (i. li), who 
 said to the witnesses: "Ye men of Galilee, why stand ye gazing up inta 
 heaven ? This same Jesus, which is taken up from you into heaven, shall so 
 come in like manner as ye have seen Him go into heaven." Kneeling at the 
 foot of the elevation upon which Christ stands are children-genii, the Adorers 
 of the Cross ; while still further in front, to the right of the Lord, kneeling,, 
 with hands folded on her breast, is Mary, the mother of the Lord. To his- 
 right and left are seen the well-known figures of the apostles, John, shading 
 his eyes as he watches the disappearing form of the Master, with Peter at 
 his side, together with those friends of the Lord who comforted Him at 
 Bethany — Martha, Mary Magdalene, Simon and Lazarus ; the women of 
 Jerusalem who bewailed his fate as He bore His cross to Golgotha ; also 
 Veronica, Nicodemus, and Joseph of Arimathea, all in various attitudes of 
 devotion, surprise, and glorification. Whilst they thus watch the Saviour, as- 
 He slowly ascends to heaven, the Chorus still sing the beautiful, he art-stir ring^ 
 strains of the hymn of victory, with its constant refrain of Hallelujahs : — 
 
 Preis Ihm, dem Todesiiberwinder Praise Him ! the Conqueror of death, 
 Der einst verdammt auf Gabbatha ! Who once was doom'd on Gabbatha ; 
 
 Preis Ihm dem Heiliger der Siinder, Praise Him Who for all sinners hath 
 Der flir uns starb auf Golgatha ! Bought life eteme on Golgotha ! 
 
 Bringt Lob und Preis dem Hochsten dar, Bring praise unto the One most high ; 
 
 Dem Lamme, das getodtet war ! The Lamb Who for our sins did die ! 
 
 Halleluja : Hallelujah ! 
 
 Das siegreich aus dem Grab hervor Who, conquering, from the grave did rise^ 
 
 Sich hebet im Triumph empor Triumphant, mounting to the skies ! 
 
 Halleluja ! Halleluja ! . Hallelujah ! He is risen ! 
 
 Ja lasst des Bundes Harfe klingen, Yea, let the harps of praise resound, 
 Dass Freude durch die Seele bebt ! Let joy through every spirit thrill ! 
 
 Lasst uns dem Sieger Kronen bringen. Let now the Victor's brow be crown'd, 
 Der auferstand und ewig lebt. He's risen, and He liveth still ! 
 
 Lobsinget alle Himmelsheere ! Hallelujah ! He is risen ! 
 
 Dem Herrn sei Ruhm und Herrlichkeit ; Ye heavenly hosts, your praises bring,. 
 
 Anbetung, Macht und Kraft und Ehre To Him all power and glory be ; 
 
 Von Ewigkeit zu Ewigkeit ! His fame and adoration sing, 
 
 From now unto eternity. 
 
 Bringt Lob und Preis dem Hochsten dar. Bring praise unto the Lord most high, 
 
 Dem Lamme, das getodtet war ! The Lamb who for our sins did die ! 
 
 Halleluja ! Halleluja ! Hallelujah ! He is risen ! 
 
 Before the last refrain the falling curtain conceals the beautiful tableau^ 
 and the Schutzgeister, closing up on the proscenium, sing in exalted strains 
 the final Hallelujah chorus. They then gather up their flowing robes, and. 
 
ACT XVIII.— THE ASCENSION. 85 
 
 separating, slowly and gracefully leave the scene of their long and lofty task, 
 whilst the audience, for the first time, are left alone to reflect on the 
 marvellous things which they have witnessed during the long performance. 
 Do the thousands of spectators return to their homes with spirits bowed down 
 in sorrow at the thought of Christ's agony and death, or with joy in the 
 strengthened assurance that in His glorious resurrection every believer has a 
 sure pledge of his own future resurrection, and the earnest of eternal life, as 
 promised by the Lord Himself at the institution of the Last Supper : — 
 
 Why are ye all so mournful, dearest chil- Believe also in me. — My Father's house 
 
 dren ? Hath many mansions, and I go before, 
 
 Why gaze so sadly on your Lord ? Let not There to prepare a dwelling unto you. 
 
 Your hearts be troubled : ye believe in And I will come again, and you will take 
 
 God, Unto myself, that where I am ye be. 
 
 Many and beautiful lines have been written by visitors concerning the 
 impressions which the play left upon them. We here reproduce a few; 
 " Powerfully affected," says Knorr, " moved to the inmost depths of the soul, 
 and yet wondrously elevated in feeling, does the spectator leave the theatre. 
 What thoughts, what sentiments fill the breast of the returning visitor ! How 
 ■different from anything else that we have experienced are the impressions 
 left by this play, so simple yet so powerful and grand ! " Hermine von 
 Patruban's beautiful words assuredly express the feelings of the majority of 
 visitors, when she says : " We leave the theatre as we would a church after 
 hearing a heart-stirring sermon or the liturgy during Passion Week." — " In 
 deep silence," says Lady Herbert, " we left the solemn representation, and 
 wended our way to the church, where we could best reflect on what we had 
 seen, and pray that these impressions might never disappear from our mind 
 and heart." " Yes, it was divine service," exclaims Dubbers, " and how 
 wondrous a divine service it was ! Filled with contentment to the inmost 
 •depth of the soul, the noblest yearnings stilled, and with calmed feelings, the 
 .spectator departs, having found everything which he had. longed and sought 
 for." With earnest mien, pondering on the scenes that have been witnessed, 
 prince and peasant alike leave the theatre visibly affected by the events of 
 that Divine Life which was sacrificed for the sake of all. 
 
 " Who has taught these simple minds this correct comprehension, this 
 tenderness of feeling, which is so evident in all their roles ? — this harmony, 
 which does not detract from the glorious picture of the Redeemer as we 
 believe on Him, but enables us to find in that maltreated innocence, in that 
 reviled holiness, the Ideal so deeply impressed in our hearts ? " asks Miss 
 Patruban, and this writer answers : " It is the pure enthusiasm of believing 
 minds, love of God, and of eternal truth," that has inspired the villagers in 
 their labours. Having once witnessed the Passion Play, we no longer look 
 upon it as an interesting relic of the distant past, out of keeping with the 
 times, lingering on a threatened existence ; but as upon the most marvellous 
 and elevated dramatic exhibition of our epoch, and the perfection of the 
 religious drama. Indeed, one can almost believe in witnessing the Play 
 ihat he sees Christ descended to earth once more, preaching amid the sunny 
 
86 
 
 THE PASSION PLAY. 
 
 hills and valleys of Judea, living over the sad yet glorious events of His life 
 among the men who misunderstood, persecuted and brutally pushed out of 
 existence, — that life in w^hose sacrifice is hid the mystery of redemption and 
 reconciliation. May God preserve and prosper this w^ondrous drama and the 
 devoted village players, so that the Passion pilgrims of future centuries, like 
 those of the present, may, on leaving the valley of the Ammer, repeat with 
 the venerable Daisenberger : 
 
 " Praise be to God ! He hath this vale created 
 
 To show to man the glory of His name ; 
 And these wide hills the Lord hath consecrated, 
 Where He His love eternal may proclaim." 
 
OBER-AMMERGAU BOOKS. 
 
 MUNICH (In Commission) WILLIAM HUMMEL. 
 
 TURKENSTRASSE Nr. 20. 
 
 ALBUM 
 
 OF THE PASSION PLAY AT OBER-AMMERGAU (1871). 
 
 Being sixty Photographs of the Scenes and Tableaux of the Passion Pla}', 
 taken by command of His Majesty King Ludwig II. of Bavaria, by the Court 
 Photographer, Albert, of Munich ; and engravings on wood. 
 
 Introductory Chapters on the Rise, Development, and Decline of the 
 Religious Drama, the Journey to the Passion-Play, the Village and People of 
 Ober-Ammergau, the Story of the Play, a Description of the Ammergau 
 Theatre, and a Full Account of the Passion-Play, with the Text and Songs of 
 the Chorus, 
 
 By JOHN P. JACKSON, 
 
 Munich and London, 1874. 
 
 Dedicated by permission to His Majesty King Ludwig II. of Bavaria. 
 
 " Your request for permission to dedicate the ' Album of the Passion Play 
 at Ober-Ammergau' to His Majesty the King has been most graciously 
 received. His Majesty expressed repeatedly his especial pleasure in the 
 work, which through a happy combination of word and illustration, gives a 
 vivid representation of the Ammergau Passion Play ; and he has authorized 
 me to inform you that His Majesty accepts with pleasure the dedication of 
 the work. " * * * Eisenhart." 
 
 A few copies of this splendid work, which is entirely out of print, the 
 royal permission having been granted only for two hundred sets of Photo- 
 graphs, may be had at the principal Book and Printsellers at Munich. Price 
 M. 225.— ;^ii ss. 
 
 A limited number of this work, without the Photographs and Etchings, 
 containing only the Text and the Engravings on Wood is for sale at the 
 above Stores. Price M. 30. — ^i 10s. 
 
 THE HOMES OF OBER-AMMERGAU. 
 
 A Series of twenty Etchings in Phototypes from the Original Pen and Ink 
 Drawings, with Notes of a Diary kept during a three months' residence in 
 Ober-Ammergau, 
 
 By ELIZA GREATOREX, 
 Munich and New York, 1871. 
 On Sale in Munich and at Ober-Ammergau. Price M. 30. 
 Some of the Phototypes are to be had separately. Price M. 1. 
 
A LIST OF WORKS ON THE PASSION PLAY. 
 
 Blackburn, Henry. Art in the Mountains. London, 1871, 1880. 
 
 Brunner, S. Das Passionsspiel zu O. A. i860, 1870. Vienna, 1870. 
 
 Clarus, L. Das Passionsspiel zu Ober-Ammergau. Munich, i860. 
 
 Daisenberger, Pastor. Geschichte des Dorfes Ober-A. Munich, 1858. 
 
 Daisenberger, Pastor, Jos. Alois. Bericht iiber das Passionsspiel zu 
 Ober-Ammergau im Jahre 1850. (Deutinger's Collection of Reports.) 
 
 Daisenberger. Mahnungsworte des hochwiirdigen Herrn Pfarrers J. A. 
 Daisenberger am Tage vor der ersten AufFiihrung der Passions Vorstel- 
 lungen gerichtet an die Gemeinde von Ober-A, (Sermon.) Munich, 1850. 
 
 Daisenberger, Pastor J. A. Die Friichte der Passionsbetrachtung, 
 vorgestellt in fiinf Predigten, welche zu Oberammergau in der heiligen 
 Fastenzeit des Passionsjahres gehalten wurden. Regensburg, 1872. 
 
 Deutinger, Dr. Martin von. Das Passionsspiel in Oberammergau. (A 
 collection of Reports on the Passion-Play.) Munich, 1851. 
 
 Devrient, Eduard. Geschichte der deutschen Schauspielkunst. Vol.1: 
 Geschichte der Mittelalterlichen Schauspielkunst. Leipsic, 1 848. 
 
 Devrient, Edward. Ueber das Passionsspiel im Dorfe O.-A. Leipsic, 
 1880. Second edition. 
 
 Dubbers, "W. Das Oberammergauer Passionsspiel nach seiner geschicht- 
 lichen, kiinstlerischen und culturhistorischen Bedeutung. Frankf., 1872. 
 
 Gorres, Guido. Das Theater im Mittelalter und das Passionsspiel in Ober- 
 ammergau. Deutinger's Collection, 1840. 
 
 Hase, Dr. Karl. Miracle Plays and Sacred Dramas : an Historical Sur- 
 vey. Translated from the German by A. W. Jackson, and Edited by 
 the Rev. W. W. Jackson, Fellow of Exeter College, Oxford, 1880. 
 
 Holland, Dr. Hyacinth. Das Ammergauer Passionsspiel im Jahre 
 
 1870. Munich, 1871. Die Entwickelung des deutschen Theaters im 
 Mittelalter und das Ammergauer Passionsspiel. Munich, 1871. 
 
 Howitt-Watts, Mrs. An Art Student in Munich. London. 
 
 Knorr, Emil. Entstehung und Entwickelung der geistlichen Schauspiele 
 in Deutschhnd und das Passionsspiel in Oberammergau. Leipsic, 1872. 
 
 Mac Coll, Rev. M. The Ober-Ammergau Passion-Play, with Intro- 
 duction on Origin and Development of Miracle Plays. London, 1871, 1 880. 
 
 Oxenham, H. N. Recollections of Ober-Ammergau in 1871. Lond., 
 
 1871, 1880. 
 
 Patruban, Hermine von. Erinnerung an O.-A., 1870. Vienna, 1871. 
 Pichler, Adolf. Ueber das Drama des Mittelalters in Tyrol. Innsb., 1850. 
 Seguin, G. G. The Country of the Passion Play. London, 1880.J 
 
The Co-operative Metropolitan laundries, 
 
 LIMITED. 
 
 Incorporated under the Companies^ Acts, 1862 and 1867, whereby the liability of 
 each Shareholder is limited to afuotint subscribed. 
 
 Capital, £15,000, in 15,000 Shares of £\ each. 
 
 Payable, \os. on Application, and loj-. on Allotment, all further liability ceasing. 
 With power to increase. 
 
 FIRST ISSUE, 5,000 SHARES AT PAR. 
 
 directors. 
 
 AUGUSTO SCARES, Esq., Chairman, 54^^, Bishopsgate Street, E.G. 
 LIEUTENANT-GOLONEL HOBSON, Thistle Grove, S.W. 
 BARON DE-WOLFFERS, 63, Fleet Street, E.G. 
 EDWARD POWELL, Esq., 18, Queen Victoria Street, E.G. 
 
 THE UNION BANK OF LONDON, 2, Princes Street, E.G. 
 
 Solicitor, 
 
 JOHN ANDREWS, Esq., 45, Fenchurch Street, E.G. 
 
 ^utiitoris. 
 
 MESSRS. FOSTER HIGHT & GO., 3, Copthall Buildings, E.G. 
 
 Secretatg, 
 
 STUART BARNES, Esq. 
 
 <©f&ce0» 
 3, MILDMAY GHAMBERS, OLD BROAD STREET, E.G. 
 
 5Morks, 
 No. I LAUNDRY: No. 205, RIGHMOND ROAD, HAGKNEY. 
 
 PROSPECTUS- 
 
 This Company has been formed to supply a want long felt, and frequently expressed, 
 by the public, viz. : the establishment of Laundries on the Co-operative principle. 
 
 The unparalleled success which has attended all well-managed Co-operative Societies, 
 and the benefits which have accrued to the Members, lead to the just inference that the 
 present movement, which presents unusual facilities for Co-operation, will be attended 
 with similar results. 
 
Although a Laundry is an industry connected with a branch of domestic economy of 
 almost universal necessity, up to the present time it has scarcely been touched on a large 
 scale, the cleansing of linen being for the most part entrusted to persons with limited 
 accommodation, living and working in houses neither healthy nor clean. 
 
 London is far behind Continental and American Cities as regards Laundry work ; in 
 the latter especially there are large establishments, conducted upon the best principles, 
 under proper sanitary arrangements and practical supervision, which insure immunity 
 from the spread of infection, prevent irregularities, and save annoyance and trouble to 
 Customers. 
 
 Dr. Richardson, the well-known authority on matters relating to health and Sanitary 
 Science, writing in the "Gentleman's Magazine" for April last, makes the following 
 statement on this point : — 
 
 ** The want now most felt amongst the educated, in our large centres, is the means 
 for getting a due supply of well-washed clean clothes. In London, at this moment, a 
 thousand public laundries are wanted, before that cleanliness which is next to godliness 
 can ever be recognized by the apostles of health who feel that their mission in the world 
 stands second only on the list of goodly and godly labours for mankind." 
 
 To supply this want, the Directors propose to open Laundries in every District of 
 London upon the basis above named, availing themselves of all means for the saving of 
 time and labour in carrying out their work. They propose adopting a new and most 
 efficient method for thoroughly cleansing the material, without the use of injurious 
 chemicals, and unnecessary wear and tear of rubbing. 
 
 The mode adopted will be thoroughly disinfecting. 
 
 The profits arising from the Laundry as worked in the ordinary way are known to be 
 considerable. The outlay required, compared with the return, is small, and when work is 
 conducted upon a large scale, with well-arranged machinery, efficient management, and 
 proper supervision, the profits will greatly increase with but a small addition to the 
 expenditure. 
 
 The first Laundry, situate near the London Fields, Hackney, has been obtained upon 
 very advantageous terms, and is now in full operation, with a daily increasing business. 
 All the advantages of co-operation will be secured to shareholders, who will in addition to 
 the benefit of the low charges (as per tariff enclosed) secure first a dividend of \o per cent. 
 on capital subscribed, and also a return from surplus profits pro rdta according to amount 
 of expenditure. 
 
 Practical and experienced managers will be in charge of every department, and the 
 works under careful supervision, thus securing to patrons full satisfaction by prompt exe- 
 cution of orders. 
 
 The Directors call special attention to the fact that the Capital of the Company has 
 been divided intO;^i Shares, to place the investment within the reach of all classes, and 
 thus secure certain success and large profits. Shares must be applied for on the sup- 
 plied' form, and left at the Bankers, with deposit, or forwarded to the Secretary. 
 
 Full particulars may be obtained from the Solicitor, Secretary, or the Managers at the 
 Works. 
 
14 DAY USE 
 
 RETUKN TO DESK FROM WHICH BORROWED 
 
 LOAN DEPT. 
 
 This book is due on the last date stamped below, 
 or on the date to which renewed. Renewals only: 
 
 Tel. No. 642-3405 
 Renewals may be made 4 days i>riod to date due. 
 Renewed books are subject to immediate recall. 
 
 -SAIOXA-X-y^MftA- 
 
 JNTERLi^RARY LOAN 
 
 t*ff KiCmVA ,\n2Ti HECRPt 
 
 OO^^ 
 
 JAN-8— im 
 
 i-n-Ti 
 
 LD2lA-60m-8,'70 
 (N8837sl0)476— A-32 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
'^A^rm 
 
 S.:^%^*i:tev'!k^:-.^;V.-^7!>.iS«ifei£ia^-VA:l^iv;.|^Si^ 
 
 sa^j^.vVArli <.•■'.• 
 
 ^ ■ '' -. 
 
 r"/^ 
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
'% 
 
 
 •4. - '■ 5 
 
 :-f^1- -.0 
 
 ■!