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 University of California. 
 
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 Eeturn in t^t« week^ ; or a week before the end of t|y^^Tn. 
 
 IIIIIWIMIIIIHIIIIIM !■■ IWIirmM<Wn»iri1IIIWIIIIIIIII«lll»MMBB«aMMJfc^|fei'l^^ 
 
V-# 
 
THE 
 
 PASSION-PLAY 
 
 AT 
 
 OBER-AMMERGAU 
 
 BY 
 
 FRANZ SCHOEBERL, 
 
 PASTOR AT LAIBSTADT. 
 
 TRANSLATED 
 
 BY 
 
 CATHERINE IHi^SON. 
 
 OEid)Pt -- Stuttjarl 
 Verlag der Kruell'schen Buchhandlung. 
 
 1871. 
 
 Note 5 The Edition with the pictures of the Passion 
 by Albert Durer appears later! 
 
DAYS ON WHICH THE PASSION PLAY IS TO BE 
 ACTED IN 1871. 
 
 June 24. 
 
 
 
 
 
 July 2 
 
 9 
 
 16 
 
 25 
 
 30 
 
 August 6 
 
 14 
 
 15 
 
 20 
 
 27. 
 
 September 3 
 
 9 
 
 10 
 
 17 
 
 24. 
 
 If on any of these days there are more visitors than the 
 theatre will hold, the play is repeated on the following day. 
 
 NAMES OF THE PRINCIPAL 
 DRAMATIS PERSONAE. 
 
 Character. 
 
 Name. 
 
 Character. 
 
 Name. 
 
 Christ . . . 
 
 Joseph Mair. 
 
 Nathaniel . . 
 
 Paul Froschl. 
 
 Peter . . . 
 
 Jacob Hett. 
 
 Ezechiel . . 
 
 Sebastian 
 
 John . . . 
 
 Johannes 
 
 
 Deschler. 
 
 
 Zwink. 
 
 Joseph o/Ari- 
 
 
 Virgin Mary 
 
 Franziska Flan- 
 
 mathea . 
 
 Thomas Bendl. 
 
 
 ge r. 
 
 Nicodemus' . 
 
 Anton Haafer. 
 
 Mary Magda- 
 
 
 Roman Centu- 
 
 
 lene . . . 
 
 Josepha Lang. 
 
 rion . . . 
 
 Joseph Zwink. 
 
 Herod . . . 
 
 Franz Paul 
 
 Barahbas . . 
 
 Johann AUin- 
 
 
 Lang. 
 
 
 ger. 
 
 Pilate . . . 
 
 Tobias Flunger. 
 
 Choragus . . 
 
 Johann Dim- 
 
 Judas . ; . 
 
 GregorLechner. 
 
 
 mer. 
 
 Caiaphas . . 
 
 Johann Lang. 
 
 Principal Con- 
 
 Josepha Flun- 
 
 Annas . . . 
 
 Georg Stadler. 
 
 tralto Singer 
 
 ger. 
 
 
 3r<? 
 
 '^/O 
 
 
 Albert Durer small passion, 37 wood cuts. 
 
 Edition I. fl. 6. 6. 
 
 XL fl. 3. 30. 
 
 m. fl. 3. — . 
 
 IV. fl. 1. 30. 
 
 Oi^ To have by Hermann Manz in Miinchen and 
 all booksellers of Germany, England etc. 
 
 Prospect of H. Manz at the end of this book. 
 
OUTSIDE INSCRIPTION. 
 
 In dark disastrous days of fear. 
 
 When plag-ue and pestilence were here, 
 
 Desired the remnant of a nation, 
 
 This sacred Pageant to begin : 
 
 Oh that Christ's death for our salvation, 
 
 Might save us from the plague of sin! 
 
 MOTTO FROM SCHILLER. 
 
 »A11 its deep places and its heights unfolding, 
 The life of lives, before thee J unroll, 
 That thou, the mightiest scene of earth beholding, 
 Mayst gain new riches for thy inmost soul." 
 
 TT behoved Christ to suffer, and so to enter into 
 His glory: Through suffering to joy, — that is 
 the whole course of the life of Christ. But the 
 disciple is not above the Master, and he who wishes 
 to be a disciple of Christ must take up his cross 
 daily and follow Him — from suffering to joy. Only 
 if we suffer wdth Christ can we become glorified 
 with Him. The suffering of Christ is the great 
 
2 Outside Inscription. 
 
 example for our life on earth. To learn better to 
 know and to follow the suffering of our Lord, is to 
 be our constant endeavour: after the example of S. 
 Paul who says : ^J wish to know nothing but Jesus 
 — and Him crucijSed." 
 
 It belonged therefore to the duty of the holy^ 
 Church, ever livingly to maintain in the hearts of 
 believers, a remembrance of the suffering of Christ, 
 and a love for the cross and for the Crucified; 
 according to the charge of the Apostle: „That Ye 
 shew forth the death of the Lord, till He come." 
 Just as now the suffering of Christ has always been 
 the chief and most touching point of contemplation, 
 it must at the first beginning of the church have 
 been a chief subject of Christian Ministry. „We 
 preach to you Christ crucified — to the Jews a 
 stumbling — block and to the Greeks foolishness." 
 It has been related of the Mother of one Lord, that 
 she, after the Ascension of Christ, either alone or 
 in company with pious women, went through the 
 whole path of her Son's suffering, from the Mount 
 of Olives to Calvary, and refreshed again, in her me- 
 
Outside Inscription. 3 
 
 mory, and in her loving heart, all the sorrows which 
 had been accomplished at the different places on 
 this via crucis. The more Christendom and faith in 
 the Crucified Kedeemer extended, the more did 
 pilgrims hasten from Palestine and from the more 
 distant countries of the world, in order to visit these 
 sacred places, which had drunk in the sweat and the 
 blood of Jesus Christ; and, through contemplation 
 of the sacred mysteries of the passion, to strengthen 
 their faith, and to increase their love. But as not 
 every one could make a pilgrimage to Palestine, in 
 churches and chapels at home crosses, paintings or 
 bas-reliefs were put up, whereby the mysteries of 
 the passion, as they had taken place on the very 
 via crucis at Jerusalem, migth be set forth. Through 
 these processions to the cross in the whole of Christ- 
 endom, so great an enthusiasm for the holy countries, 
 and so great a devotion for the blood-stained places 
 where our Eedeemer had struggled through His 
 bitter life, was diffused, that, so early as about the 
 year 1350, the so-called „stations" or representations 
 of the mysteries of the Passion were naturalized in 
 
 A 2 
 
4 Outside Inscription. 
 
 the whole of Europe; and who ever could not per- 
 sonally make his pilgrimage to Jerusalem, w^ished at 
 least to make his visits to the stations at home, 
 and by contemplation and prayer and singing, to ve- 
 nerate the passion of our Lord. Such was the devo- 
 tional service of the via crucis, which was nothing 
 but a spiritual pilgrimage to Jerusalem, to the sta- 
 tions of our Lord's suffering. But it could not 
 happen other wise than that the artists of that time 
 should be drawn into this spiritual movement towards 
 Christ crucified, and should he lead to represent 
 the Passion of the Lord, in pictures and carvings. 
 5, Among the German artists, Albert Durer, especially 
 in his great and small Passion'', had brought the 
 suffering of our Saviour before the German people : 
 and about the year 1511, quite inspired by his lofty 
 subject, had produced works of art which have never 
 found their egual. But it is not enough to think 
 and believe only on the suffering of Christ, but it 
 must become a reality and a life within us. In 
 the Catholic Church the passion of our Lord is daily 
 made present by a religious act in the holy mass: 
 
Outside Inscription. 5 
 
 in Passion week also the whole Passion of Christ 
 according to the 4 Evangelists, is brought forward 
 in dramatic treatment ; but no where more beautifully 
 or magnificently than in Rome: on which account every 
 year thousand, of whatever faith they may be, make 
 a pilgrimage to Rome, in order to see there, during 
 Passion- week , the great spiritual spectacle of the 
 Passion of the Lord — unique in its kind. Apart 
 from this celebration of the Passion in religious 
 worship^ the impulse to see the suffering of Christ, 
 not merely in thoughts and in ideas, but in living 
 presence, lead gifted spirits from this time to bring 
 the suffering of Christ, either as a whole or in single 
 moments, in a kind of spiritual drama, before their 
 fellow Christians. These representations were at first 
 given within the church, in closest connection with 
 divine service : but in later times were removed to the 
 church-yard, or some other convenient place. But 
 the more, in the course of time, living faith, the 
 moral life, and with them a religious feeling for art 
 fell into decay, the more the miracle Plays dege- 
 nerated: and as, at the end of the last century, the 
 
6 Outside Inscription. 
 
 Passion of Christ had vanished from the spirit and 
 heart of that free-thinking age, nothing better could 
 be done than to forbid this Passion-Play entirely. 
 But as Christ once advised his disciples: „When ye 
 see the abomination of desolation in the holy place, 
 then flee to the mountains", these sacred plays, when 
 they were compelled to go into banishment, took 
 refuge in the mountains, and in a concealed place 
 of the Higher Bavarian Alps, — in Ober-Ammergau, 
 have found a safe refuge. The arm of persecution- 
 indeed has extended here also, but here it was no 
 longer in a condition to put out this candle of the 
 old faith and of artistic feeling. This Miracle Play 
 had grown, by a tw^ofold root, into the hearts of the 
 people of Ober-Ammergau, and therefore they were 
 strong and enduring enough to suffer this sacred 
 treasure, at no price, to be taken from them. In 
 the first place the inhabitants of Ober-x\mmergau 
 when in the year 1633 the plague had raged fearfully 
 there, had made a sacred vow that they would per- 
 form the death of Christ every ten years : and thus 
 the miracle Play became a religious duty to them, 
 
Outside Inscription. 7 
 
 from which they neither could be, nor wished to 
 be absolved by any temporal authority. Added to 
 this was a second circumstance which made the 
 sacred promise of their ancestors dear and precious 
 and not to be forgotten: namely that the people of 
 Ober-Ammergau are instructed, by their whole course 
 of life, by their trade and work in wood carvings, 
 which generally are of religious subjects, to use 
 crucifixes and images of the saints: so that the 
 religious mysteries of the Lord and of His saints, 
 formed the chief subject of their daily thought et 
 contemplation. Thus they were instructed, by their 
 religious duty, to perform the Passion of the Lord, 
 and moved, by their daily occupation, to represent 
 the same in pictures and carvings. One is involved 
 in the other: what they cut, they play: what they 
 play, they cut. Not content with giving the Play in 
 the old rustic manner, they were the more bent on 
 perfecting themselves both in their carvings and in 
 their Play, from decade to decade and on advancing 
 in art: whereby they succeeded in bringing their play 
 to the height of artistic representation, and thus to 
 
8 Outside Inscription. 
 
 satisfy the claims of all connoisseurs. At first only- 
 intended for the edification of the inhabitants of the 
 place and of the neighbourhood, the miracle Play 
 became so famed throughout the world, that it is 
 visited not only from all the countries of Europe, 
 but even from America. Cities and places often 
 obtain their fame by great misfortunes or sanguinary 
 battles, but the plain villagers of Ammergau have 
 in their own way gained a European name, through 
 the exploits of peace, through their artistic feeling, 
 and through their plastic and dramatic skill. All 
 who have already beheld this miracle Play, have 
 gone away the nobler and the better, and who ever 
 has not seen it, we would hereby invite in the year 
 1870 not to grudge a journey to Ober- Ammergau. 
 With this view we have writen this little book and 
 given as an illustration of the text the pictures of 
 the Passion by Albert Durer, represented in wood- 
 cuts : in order to give to this little fugitive work an 
 abiding value, and also to give to those who have 
 seen the miracle Play for themselves, and for their 
 friends on the way home, a gift at the sight of which 
 
Outside Inscription. 9 
 
 the remenbrance of the suffering of our Lord and 
 its artistic representation at Ober-Ammergau, may 
 be constantly renewed. Devrient has already shown, 
 with the eye of a connoisseur, what a close con- 
 nection exists between the pictures of the Passion 
 by Albert Durer, and the representation of the 
 Passion in Ober-Ammergau. „One cannot describe 
 „the mode of representation of this Play more stri- 
 „kingly, than if we say, it is as if pictures, by 
 „painters of the middle-ages, had become alive. 
 „The costume is very well managed, quite correct 
 „ according to the representations and ideas of the 
 ^^middle ages, and others we have none for the cos- 
 „tumes in old Jerusalem." 
 
 Albert Durer was born in 1471 at Nuremberg, 
 and died there in 1528, renowned as a painter^ 
 engraver, and cutter in wood. His pictures of the 
 Passion date from the prime of his artistic career 
 (1510—1528) of which those executed in wood cuts, 
 and indeed in a smaller square-shope, are given here. 
 The Title page deserves special attention which, in 
 one comprehensive Figure, gives the substance of the 
 
10 Outside Inscription. 
 
 following pictures; and represents the suffering Sa- 
 viour not in one special position of His life, but 
 besides et beyond this, as an individual symbol of 
 His redemptive power. We see on this page Christ 
 alone, sitting, naked, wounded and crowned with 
 thorns, turned towards the spectator. His face rests 
 on His hand, arm is pressed to arm, and knee to 
 knee, it is as if in the world of darkness he would 
 retreat into the smallest space, and expose Himself 
 as little as possible to the thrusts and strokes from 
 without. Life is pulsating only between the distressed 
 bosom and the bowed head. His thoughts are here 
 striving for the victory — whose reward is a world. 
 The individual torments which have fallen upon 
 Him, He has surmounted, but He does not cease to 
 feel, because the world still holds Him bound, and 
 compels Him to continue His work of redemption, 
 ever to begin it anew, and to lead fallen humanity on 
 and on, through suffering to glory. „Did it not behove 
 Christ to suffer, and so to enter into His glory." That is 
 the right Title-page not only for the Passion of Christ, 
 but also for the great drama of the world's history. 
 
Outside Inscription. 11 
 
 As we are now about to bring forward the whole 
 miracle Play of the Passion in its different parts, w^e 
 cannot forbear observing that the people of Ober- 
 Ammergau are too good carvers to confine themselves 
 to acting alone. They also bring forward figures 
 carved of the size of life. 
 
 These figures are chosen from the Old Testa- 
 ment, and such as stand in prophetic relation with 
 the suff'ering of Christ, and are related to it as the 
 type to the fulfillment. The Play thus obtains an 
 infinite variety, and the full of richness of Holy 
 Scripture is unfolded to the contemplative soul. The 
 whole miracle Play at Ober-Ammergau is in 3 chief 
 parts, which are divided into 17 representations, with 
 a prelude, and a concluding scene. 
 
FIRST CHIEF PAET. 
 
 PRELUDE. 
 Early about 3 o' clock, small cannon are fired; 
 up and down the village a musical reveillee is to be 
 heard, as a token that it is to be a holy day, and a 
 high festival for the whole community. At dawn 
 holy masses are begun by the super-numerary foreign 
 Priests who are there; where-by also foreign visitors 
 to the festival, seek to perform their sunday duty. 
 At 6 o' clock, is the special divine service of the 
 parish, at which not only numerous pilgrims, who 
 are come to sing or pray at the Passion of the Lord, 
 but also many Ammergau people, go to the Holy 
 communion in order to be able to play better, and 
 in a mere reverent spirit. Eight o' clock strikes, three 
 cannon are fired; the music of the orchestre begins. 
 The hum of about 6000 hearers becomes gradually still. 
 As the end of the overture approaches, the multitude 
 becomes more silent. As soon as the music ceases, 
 
First chief Part. 13 
 
 the choir came forward with their 14 guardian spirits, 
 and with the choir-leader on the right and left of 
 the scene, and with hands crossed on the breast, 
 bow gravely and quietly to the still more quiet 
 spectators, and the speaker begins the following. 
 
 PROLOGUE. 
 
 Humble thyself in sacred wonder, 
 
 Oh race, by the curse of God bowed down! 
 
 Peace cometh to thee from Zion yonder! 
 
 Not always does God frown. 
 
 Thou hast injured Him and His wrath is just, 
 
 „My will", so saith the Lord, 
 
 I§ not the sinner's death; forgiving, 
 
 1 will restore him to the living ! 
 
 I will redeem him, by Christ's blood redeeming!" 
 
 Praise, and worship, tears of gladness 
 
 Ever unto Thee ! 
 Yet, Holy God! can dust presume to gaze. 
 Into the sanctuary of future days? 
 God's secret! on Moriah's Mount we see, 
 A type of what on Golgotha shall be! 
 
M , , First chief Part 
 
 While* tlie last two verses are sung, the curtain 
 of the stage rises, and two living pictures appear — 
 the expulsion of our first Parents from Paradise, 
 and Abraham's sacrifice on Mount Moriah. The 
 Choir, which every-time living figures come upon 
 the stage for representation, withdraw to te right 
 and left, sing meantime in order to explain the 
 meaning of the picture. 
 
 See how to pay the sinner's debt appalling, 
 (As Isaac once in days so long before) 
 The son of God, a willing rection falling. 
 On Golgotha, the sins of many bore. 
 A blessed gift, oh pitying Lord, Thou gave us, 
 When we despised and had neglected Thee, — 
 Thine only son, from punishment to save us. 
 Thou gave to die, that sinners might be free. 
 
 The curtain, which has fallen during the last 
 stanza, rises again; and, in the back ground, appears 
 a lofty cross with praying forms before it. The 
 choir also are silent, and sink reverently on their 
 knees. During this silent time of prayer, a solemn 
 
First chiefS^^Ld *» 
 
 disposition to devotion takes posse§ 
 of all spectators, which rises still higher when the 
 following song, sustained by four lovely voices of boys, 
 comes from the hidden back ground of the stage. 
 
 ;,Father ! hear Thy children's stammering voices, 
 For the child can but stammer in Thine ear; 
 He who in Thy atoning love rejoices, 
 Prays unto Thee with reverence and fear. 
 
 In the fierce struggle which must still betide Thee, 
 Until the rugged path of thorns be past 
 Atoning Saviour! may we walk beside Thee, 
 And watch Thy bitter struggle to the last. 
 
 The effect of this prelude is truly over-powering: 
 all the prejudices which one had brought with one, 
 or had expressed before the beginning of the play, 
 are in fact laid aside and silenced. An opinion has 
 privately been formed in all minds that here one 
 has not to expect a spectade of an usual kind, but\ 
 that here a truly religious service will be celebrated. 
 
 
 y 
 
 So that this prelude has become in the fullest sense, 
 what it ought to be, — a captatio benevolentiae. 
 
16 First chief Part. 
 
 The wonderfully lovely song of the Guardian spirits, 
 so simple and apparently ; ai>tljess ,^ has contributed 
 most to it; for they pray while singing, and sing 
 while praying. It thrills through all our nerves to 
 the very marrow of the soul, and the soul can but 
 pray too; she can but forget every thing earthly, 
 and plunge into heavenly thoughts. Thus it is that 
 living pictures at once bring us in medias res, and 
 show us the tree in paradise from which all the 
 suffering in the world has sprung, but afterwards 
 the Tree of the cross, from whence come consolation 
 and joy. He who conquered on the cross, must 
 also be conquered by the cross : and as death came 
 from a tree, from a tree also must life bloom forth. 
 Thus the idea of the whole Drama, as of the life 
 of Christ and of humanity, may be thus expressed. 
 jjThrough death to life — through suffering to joy. 
 
' FIRST REPRESENTATION. 
 
 THE ENTBY OF JESUS INTO JERUSALEM. 
 
 This triumphal entry of the Lord is magnificent, 
 about 300 persons appear in the train which moves 
 on in the manner of a procession: first comes a 
 multitude of little, then of bigger children; then 
 youths and maidens who sing Hosanna, strew palms 
 or spread their garments in the way. Men, women 
 and old people follow them amid an ever-growing 
 and jubilant chorus. 
 
 Hail, hail to Thee oh David's son 
 Hail! to ^ Thee hail! Thy father's throne 
 
 Is now for Thee 
 Thee in the name of God we greet. 
 To Thee whom Israel streams to meet, 
 
 All praise shall be ! 
 
18 First chief Part. 
 
 Hosanna! may the God of heaven 
 His highest grace on Thee bestow! 
 Hosanna! and to us be given 
 To serve that eternal King below! 
 Hail, hail to Thee etc. etc. 
 
 And blest be He who now reviveth, 
 Our Father Davids throne once more: 
 Equal with God He ever liveth. 
 Ye nations praise and honour pour. 
 Hail to Thee etc. etc. 
 
 Hosanna! to our Prince's son 
 Through the wide air shall sound again. 
 Hosanna! on His Father's throne, 
 He comes with equity to reign. 
 Hail to Thee etc. etc. 
 
 When the chorus comes to an end, the singing 
 and jubilant crowd group themselves on the stage, 
 while High Priests and scribes from the opposite 
 street are seen, w^ho ill conceal their irritated jealousy 
 at this Triumphal entry of Christ. 
 
First Representation, 19 
 
 After Christ has quietly dismounted from the 
 ass, during the rising of the curtain, the scene 
 changes, almost unobserved, into the outer courts of 
 the Temple, where the buyers and sellers were doing 
 their mischievous work. Christ went among them 
 as one who has authority, — full of divine dignity 
 He overthrows their money-table, drives them, with 
 small cords, out of the sacred courts, and says: My 
 house is a House of prayer, but ye have made it 
 a den of thieves. An uproar arises, the wounded 
 pride of the Pharisees combines with the greediness 
 and avarice of the dealers, who think themselves 
 injured; and from these two passions proceeds the 
 struggle which follows between the unholy and the 
 Holiest : and so, in this first representation, are shown 
 the secret motives which move the whole Drama — 
 the struggle may begin. Meantime Christ takes leave 
 of the people and withdraws to Bethany. 
 
 B 2 
 
20 First chief Part 
 
 SECOND REPRESENTATION. 
 
 THE HIGH COUNCIL. 
 
 1. THE OLD TESTAMENT TYPE. 
 
 The choir-leader begins with the explanation 
 that evil passion is leading the Jews to conspire 
 against the life of Jesus, and to contrive impious 
 plans, — just as the sons of Jacob had resolved on 
 evil design of getting their brother Joseph out of 
 the way. 
 
 The ewil men are gone from sight — 
 Their form now stands unmasked in light — 
 The tatters from their robe of sin — 
 Are torn, and conscience gnaws within. 
 „0n vengeance let us think", they wildly scream, 
 „And execute our long projected scheme^. 
 Reveal to us, oh Lord, the sacred thing I 
 A grey antiquity to mind they bring: 
 
Second Representation, ' 21 
 
 As Jacob's sous their brothers death conspire, 
 Soon shall we hear these vipers cry 
 For Jesus blood: He too must die 
 Like tiger's is their ire. 
 
 See this dreamer draweth nigh, 
 He would be our king, they cry, 
 
 But his schemes to ponder 
 Now away with him! away! 
 To perform them, as he may, 
 
 In the pit out yonder! 
 
 So too for the righteous blood 
 Thirsts and pants this viper brood: 
 
 „He 's against us", hear them crying, 
 jjFor our honour He must fall: 
 „He has gained the love of all, 
 
 ;,Not our wanted pathways trying. 
 
 Come, let us destroy for ever 
 Him whom no one can deliver! 
 Let our steadfast purpose grow. 
 To destruction He shall go. 
 
22 First chief Part. 
 
 During this song the curtain has risen and one 
 sees the pit in the land of Dothan, into which Joseph 
 was cast by his brethren ; — two of them are looking 
 down ; the others are standing about in groups after 
 the deed is done. The curtain falls and the choir 
 sings at first with passion etc. agitation, which is 
 afterwards subdued when the lovely voice of a boy 
 breaks in; while, in conclusion, the choir submit to 
 the sacred decree of God, 
 
 God destroy their impious breath 
 Who are enemies of Thine ! 
 Crust their souls in sudden death 
 Who against Thy son combine! 
 O'er them roll Thy mighty thunders, 
 Let them, Lord, Thy lightenings see. 
 By Thy terrors and Thy wonders 
 Turn their evil hearts to Thee! 
 
 No! 't was not for condemnation, 
 From the Father's face. He come. 
 But the bringer of salvation 
 To all sinners, through His name! 
 
Second Representation. 23 
 
 Lord! Thy schildren ponder o'er, 
 And with lowly hearts adore, 
 All Thy love for ever more. 
 
 2. THE ACT. 
 
 The act always follows the picture just as to 
 the Old-Testament prophecy the fulfilment in the 
 new covenant. The choir move aside. The curtain 
 rises, and discloses to us the sight of the High Coun- 
 cil. Annas and Caiaphas presiding and taking the 
 lead, in the midst of the Scribes and Pharisees. The 
 triumphal entry of Christ has excited their pride and 
 fury, and passion rages in their hearts, as in their words. 
 „A11 the world is gone after Him". But they know 
 how to throw a fine cloak over their passion — not 
 their pride : no ! religion and the Nation are in dan- 
 ger: — jjThe Romans will come and take away both 
 our place and nation." The conclusion drawn by 
 these excited and embittered men is : „It is better that 
 one man should die, and that the whole nation perish 
 not." All agree to this and cry: „He is guilty of 
 death. ^- 
 
24 First chief Part. 
 
 And now they have only to get Jesus into their 
 hands. A legal reason, that they may be able to 
 sentence Him to death by the forms of justice must 
 be forth-coming afterwards. Money and promises 
 are first recognized as the fittest means — to get 
 possession of Him through the co-operation of the 
 Dealers highly irritated by being disturbed in their 
 usury. One of these Temple- Traders knows Judas 
 (for fair souls always find each other) and so pride 
 calls in the helf of avarice — one passion kindles 
 another, that both in combination may accomplish 
 the impious treason; and not only defile the temple 
 but sell even the most Holy One. 
 
 THIRD REPRESENTATION. 
 
 THE LEAVE OF BETHANIA. 
 
 FIRST TYPE. 
 
 The parting of Jesus from His Virgin mother, 
 and the pangs of His loving Mother at His last 
 departure, are here typified by the parting of the 
 young Tobias from his parents; and then through 
 
Third Representation. 25 
 
 the lamentations of the Bride, in the song of songs^ 
 who has lost her bridegroom. 
 
 The choir explain these two wonderful pictures 
 and their relation to Jesus and to Mary in the follo- 
 wing song. 
 
 Sing to the Lord with pious feeling! 
 
 From a pure heart the notes are stealing: — 
 
 For as He gives His only Son. 
 We have deserved to death to go, 
 But He, to save our souls from woe, 
 
 To suffering bravely hastens on. 
 
 Friends! oh what a bitter smart 
 Racked his mother's loving heart 
 
 When Tobias in his hand 
 
 Raphael to a foreign land 
 
 Hastened at the father's will. 
 
 How with many a sigh and groan 
 Calls she her beloved son: 
 „Come, and tarry not, my boy! 
 Thou my comfort and my joy. 
 Oh return unto me soon! 
 
26 First chief Part. 
 
 Ah Tobias — child so dear! 
 My own son^ oh hasten here 
 To thy mother's fond embrace: 
 Only when J see thy face, 
 Can my heart full joy partake. 
 
 Sad, her life will wear away^ 
 Comfortless until the day. 
 And the blissful moment, come 
 Which will bring her darling home, 
 To his mother's knee once more! 
 
 Oh where is He? o where is He? 
 So fair amidst perfection! 
 Mine eye is weeping sore for Thee 
 With tears of pure affection. 
 
 Ah come again ! ah come again ! 
 Behold these tears of sadness: 
 Beloved! what can Thee detain 
 From filling me with gladness? 
 
Third Representation. 27 
 
 Mine eye is searching path and way 
 In hope that J may greet Thee. 
 And with the morning's earliest ray 
 Hastens my heart to meet Thee. 
 
 REPLY. 
 
 Beloved! parted now from thee. 
 Say canst thou feel my anguish? 
 Thy Frind will soon return to thee, 
 And thou no longer languish. 
 
 Wait thou, oh fairest love, for Him! 
 For soon, in sweet communion, 
 No cloud of gloom shall ever dim 
 The bliss of that re-union. 
 
 Oh come into my arms once more! 
 For soon, in sweet communion. 
 No cloud of gloom shall darken o'er 
 The bliss of that re-union. 
 
 SECOND ACT. 
 
 Christ appears in the streets of Bethany, and 
 goes with His disciples into the house of Simon, 
 
28 First chief Part, 
 
 where Mary and Martha wait on them. During the 
 meal the Magdalene kneels at Jesu's feet, in order 
 to anoint them amid tears, with the costly ointment, 
 the odour of which filled the house. In the eyes of 
 the avaricious Judas it is waste, which highly enrages" 
 him. He coldly reckons up the value of this oint- 
 ment in money, and pretends to wish it spent for 
 the poor; but in reality wishes to fill his bag with 
 it „for he was a thief', says the Evangelist, „and 
 carried the bag.^ The 300 pence are pure loss for 
 him. He cannot get them ont of his head. With 
 Jesus there is nothing more for him to hope. In 
 his passionate excitement, he resolves to forsake the 
 needy Jesus and to seek money in the world, where 
 it is to be found. What a contrast ! The Magdalene 
 who in her generous self-sacrifice gives all — even 
 the most costly, for Jesus; and, on the other hand, 
 this cold narrow-minded selfishness of Judas, who 
 wishes to have and to use every-thing for himself! 
 After the meal the Mother of Jesus, with her female 
 companions, comes up, on the other side, in order 
 to take leave of her Son. This scene, — „the leave 
 
Third Representation. 29 
 
 of Mary", has had many different treatments in the 
 middle ages, and is always calculated to awaken 
 compassion and tears in every believing heart. In 
 the striking picture of Albert Durer, on the one side, 
 the over-powering grief of the mother, which even 
 affects the disciple John to tears; on the other side 
 the deep emotion of Jesus who, with heavenly com- 
 posure, pours consolation into the wounded heart of 
 the mother, has been represented in a truly masterly 
 manner. 
 
 FOURTH REPRESENTATION. 
 
 LAST ENTRY OF JESUS INTO JERUSALEM. 
 
 FIRST TYPE. 
 
 The King Ahasuerus puts away the proud 
 queen Vashti, and raises the lowly Esther to the 
 royal dignity. The choir explain this picture that 
 proud Jerusalem — the old synagogue, has abused 
 
30 First chief Part. 
 
 all the grace bestowed on her, and, at last, has been 
 forsaken of God. And, therefore, the Eternal King 
 has chosen the church for His bride and queen. 
 
 Jerusalem, Jerusalem awake thee! 
 And know what to thy peace may still belong: 
 While thou art lingering, vengeance will o'ertake thee ; 
 Fearful it's strokes, Unhappy one, and strong. 
 
 Jerusalem! Jerusalem! 
 Oh turn thee to the mighty God! 
 And lift not up for death or blood 
 
 Thy voice of jealousy: 
 Else, hapless one, on thee shall pour, 
 From flowing vials ever more. 
 
 The wrath of God on thee. 
 
 Alas! Alas! the Prophet's murderess 
 Goes wildly on in her unrighteousness. 
 
 And therefore, saith the Voice Divine, 
 
 „No more this people shall be mine". 
 
 See Vashti! See! the proud one is rejected 
 (A type of what by Jews may be expected!) 
 
Fourth Representation. 31 
 
 Now, from my lofty throne, oh queen, depart 
 Unworthy of the crown thy pride of heart! 
 So speaks Ahasuerus in his rage. 
 
 „The time for grace is past away. 
 This proud race J will cast away^: 
 
 Saith God, who liveth ever more. 
 
 Thou lovely Esther, as His bride, 
 
 Shalt reign at the great monarch 's side; — 
 
 Thus destined for a royal throne; 
 God will a better race select 
 Henceforth to be His bride elect, — 
 As Esther to the King of yore. 
 
 Jerusalem ! Jerusalem ! 
 Oh sinners! if the grace of Heaven 
 Ye still may long to find. 
 List to God's word, and sinful leaven, 
 
 Cast out of heart and mind. 
 
 SECOND ACT. 
 
 Christ goes with His disciples to Jerusalem, 
 weeps over the obdurate city which will not suffer 
 
32 First chief Part. 
 
 itself to be saved, and pronounces the sentence of 
 her horrible destruction. Judas stays behind the 
 disciples, on the way meditating and struggling with 
 a fearful conflict within. He stands by the turning- 
 point. He must now decide: either God or Mammon; 
 he cannot serve bolh any longer. He is helpless 
 and undecided then comes, like Satan, his acquain- 
 tence the Temple-Trader, with several companions, 
 and uses the favorable moment for drawing more 
 tightly the snares which are already around the soul of 
 Judas. The Temple-Traders seem as though they would 
 become disciples of Jesus if there are favorable pro- 
 spects. Judas shows them in reply the empty bag, and 
 sorrowfully tells them the history of the 300 pence 
 wasted. Now they come out with their promises. 
 As soon as Judas hears of money he is lost: the 
 passion is too strong for him, he gives his word to 
 make his appearance at the concerted meeting. 
 
 But he is ashamed of himself; he looks anxiously 
 round to see whetter any one has seen or heard, 
 and finds it necessary to dissemble before Jesus 
 and before the other disciples. 
 
Fifth Representation. 33 
 
 FIFTH REPRESENTATION. 
 
 THE HOLY SUPPER. 
 
 FIRST TYPE. 
 
 The Lord gives to the people of Israel the manna 
 in the .wilderness. — The whole stage is filled with 
 people. In the fore-ground are groups of children, 
 — boys and girls, — and mothers with their children 
 in their upHfted arms — farther back youths and 
 maidens grouped higher and higher up the slope 
 of a mountain. In the back ground are men and 
 women amongst whom Moses and Aaron stand forth 
 presiding over the whole scene. Joy is reflected on 
 all the hundred faces — the picture itself is motion- 
 less — the individuals, down to children of 3 years, 
 are as if turned to stone. A sacred wonder runs 
 through the audience which becomes deeper when 
 the Choir begin to sing in explanation of the picture. 
 
34 • < W ' ' First chief Part. 
 
 ~ Now shall approach the happy hour, 
 And the fulfillment draweth nigh, 
 Of what the Prophets, by God's power, 
 Made known unto humanity. 
 
 „This nation", says the Lord above, 
 „No longer as my chosen stands, 
 „They please me not, nor do J love 
 „As once the oflFering of their hands. 
 
 „A new and glorious feast J make", 
 Saith God, „my people shall partake^: 
 For all the world — both land and sea, 
 One glorious sacrifice shall be. 
 That wonder in the wilderness of old, 
 The feast of the new covenant foretold! 
 
 Our Lord is good! in wondrous wise, 
 The hungry soul He satisfies: 
 
 The Bread of Heaven 
 
 Is freely given. 
 Death carried all the men away 
 Who in the desert, day by day, 
 
Fifth Representatiori^j^ f yJ^'^ S^tfe 
 
 That plenteous food eollectec 
 But those who in their hearts believe. 
 And Christ — the Bread of life, receive 
 Are from all death protected! 
 
 In a second type the great-bunch of grapes is 
 shown which was brought by the spies from the 
 land of Canaan and which signified the sacred wine 
 which is consecrated in the Lord's supper as the 
 choir explain. 
 
 Good is the Lord ! good is the Lord ! 
 
 To His own people once He poured. 
 
 The choicest and the sweetest juice, 
 
 The vine of Canaan could produce. 
 But this, by His own will decreed. 
 Could but supply the body's need — 
 A growth of nature, as at first: 
 Unlike the sacramental wine 
 Which will become the Blood Divine 
 Of Christ, to still our spirit's thirst. 
 
 C2 
 
36 First chief Part, 
 
 Good is the Lord! good is the Lord! 
 How great the riches of His word: 
 In Salem Christ a feast will make 
 Where we His flesh and blood partake. 
 
 SECOND ACT. 
 
 Christ celebrates with His disciples the Jewish 
 Passover, on which occasion disputes as to who is 
 the greatest arise. Christ puts an end to them in 
 a wonderful manner, while He teaches them tha 
 the greatest in the kingdom of Heaven, is the one 
 who has humbled himself the most. He also proves 
 this through a powerful example while He, the Lord 
 and Master, so far humbles Himself as to wash the 
 Disciples' feet. After the washing of the feet, the 
 Easter-Lamb of the new covenant is sacrificed in 
 bread and wine. — 5,This whole scene", writes 
 Ludwig Clarus, „breathes an exalted dignity. The 
 ^representation in its Biblical simplicity, without any 
 „ accessory of oratorical ornament, fills us with pious 
 5, veneration. Devotion was written on the face of all 
 „the Actors and no desecrating expression — no 
 
Fifth Representation, 37 
 
 „derisive sneer was to be seen on any countenance* 
 „The significance of the scene became, as far as 
 „J could see, universal, but in some parts so deeply 
 „felt, that tears and suppressed sobbing might be 
 „observed in different places." In contrast with 
 Pharisaical pride, and foul and selfish avarice, hu- 
 mility and the generosity which gives every-thing, 
 — yes even itself, shine forth in their fullest splen- 
 dour. Christ Avashes the feet of Judas. He gives 
 Himself, body and soul, for him. It was a last 
 powerful appeal to the heart of Judas ; — one last 
 gleam of light into His gloomy soul. But „he went 
 out, and it was night", — in him and around him. 
 
 SIXTH KEPRESENTATION. 
 
 THE TRAITOR. 
 
 FIRST TYPE. 
 
 As the sons of Jacob sold their brother Joseph 
 for 20 pieces of silver, — Judas desires 30 pieces 
 
38 First chief Part. 
 
 of silver as the price of betraying his God and 
 Master. The choir deprecate avarice and would 
 recal Judas from the impious deed. 
 
 What shudderings all my being thrill! 
 Where, Judas, dost thou take thy way? 
 The guiltless blood of Christ to sell: 
 No longer vengeance shall delay! 
 Ye thunders and ye lightenings, rush 
 To earth — this guilty man to crush. 
 
 „Will one of you your Lord betray^? 
 Three times the master said the word 
 But, lead by avarice astray, 
 One hastens from the festive board: 
 Judas Iscariot his name^ — 
 Remenbered for this deed of shame. 
 
 „0h Judas from the crime refrain"! 
 Vainly our warnings fall on him; 
 For, blinded by the love of gain. 
 He hastens to the Sanhedrim; 
 And there repeats, with evil mind, 
 What once at Dothan was designed. 
 
Sixth Representation. 39 
 
 His brethren say what will you give 
 If w^e should let joung Joseph live, 
 
 And sell him for a slave? 
 And soon for 20 shekels' sake, 
 That they unrighteous gain may make, 
 
 Their's brother's life they save. 
 
 „What will you give and now repay 
 If I the Master should bretray? 
 
 Said Judas, lead by gold. 
 For 30 shekels' sake he made 
 The covenant, — to te betrayed. 
 
 His Lord and Master sold. 
 
 This scene unto our eye conveys, 
 A faithful picture of our days. 
 How oft, by sinful deed or word, 
 Ye have betrayed or sold your Lord! 
 
 Here Joseph's brethren ye condemn 
 But do ye not resemble them. 
 Or Judas in his treachery? 
 
40 First chief Part, 
 
 For envy and fraternal hate 
 Ever disturb man's peaceful state. 
 Change blessing into misery. 
 
 SECOND ACT. 
 
 The high council is assembled: Judas appears 
 with his empty bag. There is a long haggling, 
 but at last they both agree to 30 pieces of silver, 
 and the covenant of blood is concluded. Judas 
 hastily counts the money, looks closely te see whe- 
 ther any piece is missing or is false, and puts it 
 carefully into his bag. „To-day", he cries, „He shall 
 be in your hands"; and appoints to them the exact 
 time and place for the betrayal. Only Joseph of 
 Arithmathea and Nicodemus protest, and leave the 
 hall. All the others cry with malicious joy. „Let 
 him die ! Let him die ! the foe of our fathers." So 
 now the infernal plan is devised, the knot is tied — 
 the Suffering begins! 
 
Seventh Representation, 41 
 
 SEVENTH REPRESENTATION. 
 
 JESUS ON THE MOUNT OF OLIVES. 
 
 FIRST TYPE. 
 
 Adam dressed in an apron of sheep-skins — 
 the spade in his hand — is fulfiUing the sentence of 
 the Lord: — In the sweat of thy brow, thou shalt 
 eat bread; two children are weeding thorns and 
 thistles. Mother Eve has her youngest child of sorrow 
 on her bosom. The choir introduce this picture, 
 and, while singing, explain its relation to the agony 
 on the Mount of Olives. 
 
 Judas of the sop did eat 
 Which his Lord had dipped for him, 
 With a hardened heart, and meet 
 Satan entered into him. 
 „What thou doest quickly do." 
 Said the Lord, and, out of view, 
 Judas hastens fast away. 
 Now his master to betray 
 
 To the Jewish synagogue. 
 
42 First chief Part. 
 
 Ah soon is done, yes soon is done 
 
 The direst of all deeds! 
 
 This very night, at set of sun, 
 
 Judas in all succeeds. 
 
 Come, every living man, and see, 
 
 And watch His sacred agony 
 
 First in the shade and then in light 
 
 All will appear: 
 The saddest scene of earth is here, - 
 
 Gethsemane ! 
 
 Say what weariness of heat 
 Adam to the earth did bow; 
 Oh his face the bitter sweat 
 And the curse upon his brow. 
 This the bitter fruit oft sin 
 Even nature's face must share; 
 She in answer to his toil. 
 Bitter pains and constant moil 
 Only scanty fruits will bear. 
 
 And thus, beneath a burning heat, 
 Our Jesu's sacred form did bow: 
 
Seventh Representation. 43 
 
 And, in this agony, the sweat, 
 
 In drops of blood, was on His brow. 
 
 This the battle for us sinners 
 
 He to fight will bravely go; 
 
 By this blood, our triumph gaining; 
 
 Shrinking, trembling, and jet draining 
 
 Cheerfully, the cup of woe. 
 
 In a second type which is shown appears Joab 
 — the general of David, who greets Amasa: 
 ^Brother how art thou?" With his right hand he 
 seizes Amasa's beard to kiss him, but meantime se- 
 cretly thrusts a sword into his side so that he dies. 
 The chorus which refers this picture to the treachery 
 of Judas is very arresting: 
 
 The scene by Gibeon's mighty stone 
 Eeminds of Judas — Simon's son 
 
 Ye stones of Gibeon! 
 Why without verdure do you stand. 
 Once the chief pride of all the land. 
 
44 First chief Part. 
 
 As if in veil of mourning wrapped ye were? 
 Oh tell me, I implore what happened there ? 
 Whet happened there? 
 
 Flee, wanderer, and flee quickly now! 
 This place is cursed ad stained by blood, 
 For here the murderous Joab stood 
 
 Amasa fell: 
 Trusting to friendship's sacredness! 
 Deceived by false fraternal kiss! 
 Cry in our native tongue : Accursed art thou I 
 Accursed art thou! 
 
 The rocks or thee lament will make; 
 
 The blood-stained earth her vengeance take. 
 But listen! now your wail assuage. 
 By many a cleft show forth your rage 
 Ye rocks of Gibeon ! 
 
 Judas betrayed the Son of man 
 With just such seeming tenderness: 
 And with a false and traitorous kiss, — 
 
Seventh Representation. 45 
 
 Judas Iscariot, 
 
 Leading a rabble rout. 
 
 Ye rocks of Gibeon! 
 List to the curses which we ponr 
 On such a monster ever-more 
 The world must curse his wickedness 
 Open, oh earth, a vast abysss 
 And swallow him ! Ye fires of night 
 Consume this monster from our sight. 
 
 In the third type is shewn Samson who was be- 
 trayed by his beloved wife Dalila to his enemies — 
 the PhiUstines, an so bound with fetters: 
 
 Samson over-powered at last: — 
 
 Christ by enemies held fast; 
 
 Samson taunted by his foes, 
 
 Jesus Whom the mob enclose; 
 This is the hero who so many foes hath slain, 
 This strong one^ on his shoulders, from the plain 
 
 Carried the gates of Gaza up the mount: 
 
 Shorn of his strength, see him of no account, 
 
46 First chief Part, 
 
 Men's scorn to-day, 
 
 Of foes the prey 
 
 Who long, with angry breath, 
 
 Have sought his death. 
 Ah! and disgraceful was his fall, 
 All through a womois flattery 
 In fetters he, despised by all. 
 Is dragged away to slavery. 
 Thus grovelling malice lays its snares 
 To bring fair virtue down again; 
 Woman may tempt it, unawares, 
 Or knavery of wicked men. 
 
 Thus evil, goodnes to abase. 
 Will never cease to try: 
 
 Samson must fall into disgrace, — 
 
 Thus Jesus too must die. 
 Oh watch that no deceptive wile 
 May blind your heart or sense; 
 Or impure passion e'er beguile, 
 Your hands from innocence. 
 
Seventh Representation. 47 
 
 SECOND ACT. 
 
 On a rocky part of the Mount of Olives Christ 
 appears and is praying. — He prays three times, — 
 more and more earnestly, ringing; his hands, with 
 His face bowed to the earth, and when He raises it 
 dripping with bloody sweat. The angel appears, 
 and brings the answer of His prayer. The dis- 
 ciples are asleep, and, awakened three times, sleep 
 again. Albert Durer has represented the agonized 
 prayer of Christ for help, and the indescribably 
 deep sleep of Peter, in a most expressive picture, 
 which will remind us in a lively manner of the 
 same scene in the miracle Play. But Judas sleeps 
 not. He comes by night with his band of soldiers 
 who, at the given token of the kiss, lay hands on 
 the betrayed Jesus. Peter is now, it is true, awake 
 and, repelling force by force, has cut off the ear 
 of Malchus; but Jesus immediatily heals it in His 
 love, and allows Himself to be bound and lead 
 away to death, because it is His own will. 
 While the curtain is falling, one sees the Saviour, 
 amid scorn and insults, going on towards the city; 
 
48 First chief Part. 
 
 but even in the face and gestures of the bound and 
 rejected One, may be seen the love and forbearance 
 which He bears in His heart towards His foes. 
 Forsaken by the whole world, forsaken and betrayed 
 even by the faithful few, Jesus is now alone, and 
 given up to His inexpressible woe : and this unutter- 
 able loneliness works powerfully on the souls of the 
 spectators, and draws them on, in sacred sympathy, 
 to the mysteries of the sufferings which are still to 
 come. Here begins the night between Maundy 
 Thursday and Good Friday: on which account the 
 play is generally here interrupted, for an hour of 
 rest and bodily refreshment. 
 
SECOND CHIEF PART. 
 
 EIGHTH REPRESENTATION. 
 
 JESUS BEFORE ANNAS. 
 
 The choir come forward, first give a glance 
 backward to the Mount of Olives, and then announce 
 that the conflict of suffering has begun. — 
 
 Now the conflict is beginning 
 
 Upon dark Gethsemane ; 
 
 Ye who caused it by your sinning 
 
 Never lose the memory! 
 
 This was done for your salvation; 
 
 Ne'er forget the tribulation, 
 
 With which Jesus went to die, 
 
 Which His form to earth did bow, 
 
 When the drops of agony 
 
 Stood upon His sacred brow. 
 
 Now the conflict is beginning and 
 
50 Second chief Part. 
 
 FIRST TYPE. 
 
 Michaiah the Prophet is smitten on the face 
 because he has told the truth to King Ahab. Christ 
 also, in His examination before the High Priest, is 
 smitten on the face 
 
 He who truth will freely speak 
 Will be smitten on the cheek: 
 
 jjThou, oh King, wilt fall at Ramoth" 
 
 „If thou goest up against it" 
 
 Thus will bold Micaiah speak. 
 
 „Thee to rescue from thy peril, t 
 
 Put not faith in priests of Baal 
 
 Or their flattery and lies" : 
 Yet the truth, told by Micaiah, 
 
 With King Ahab found no grace, 
 And the liar — Zedekiah 
 Struck the Prophet in the face. 
 
 Liars — hypocrites may gather 
 Roses — laurels without pains; 
 
 And the truth alone be smitten, 
 She all flattery disdains. 
 
Eighth Representation, 51 
 
 Jesus gives the right to Annas 
 To enquire about His doings 
 
 And to judge Him as he may: 
 „Would you know about my teaching, 
 Ask of those who heard my preaching", 
 
 Will the Holy Jesus say. 
 
 Yet the trouth so freely spoken 
 In reply, hath found no grace: 
 Innocence itself will suffer^ 
 Christ is smitten in the face. 
 
 SECOND ACT. 
 
 Annas stands on the balcony of his house and 
 can scarcely wait till Jesus is brought by a prisoner. 
 Suddenly cries, — laughing and weeping, are 
 heard from the street. First comes Judas in great 
 haste, in order to g^t his reward from Annas. „Thy 
 name shall stand for everlasting in our annals." 
 Yes he stands there as a traitor, and accursed by 
 all the world. Jesus is brought on to the balcony 
 to the High Priest, and there they stand side by 
 
 D2 
 
52 Second chief Part. 
 
 side — the criminal, before the judge, or rather the 
 judge, before the Criminal. Below rages the excited 
 mob calling up accusations on Him, even the healing 
 of the ear ofMalchus is made a subject of reproach. 
 Christ keeps silence at all their questions, keeps 
 persistent silence at all their accusations; this divine 
 silence becomes quite inexplicable to the aged Annas. 
 „Why answerest thou not^? he asks in embarass- 
 ment. With a calmness which only the conscious- 
 ness of innocence can give, the Accused speaks. 
 „I have tought openly in the temple and in the syna- 
 „gogues, but never in secret why dost thou ask Me? 
 „Ask those who heard my teaching." Then an 
 officious slave smites Him in the face, with the 
 words: „ Answerest thou the high Priest so?" With 
 earnestness and dignity, Jesus turns to this slavish 
 soul and says : „If I have spoken evil, bear witness 
 ,jOf the evil; but if well, why smitest thou Me?" 
 This scene awakens in all spectators a holy indig- 
 nation at such unworthy treatment, and this anger 
 is only calmed by the aspect of Christ Himself who 
 looks down, with sorrow and compassion, on the 
 
Eighth Representation^ 53 
 
 misguided and angry multitude below. Annas is 
 at his wit's and knows not what else to do with 
 Jesus than to send Him away, well guarded by 
 soldiers, to Caiaphas. 
 
 NINTH REPRESENTATION. 
 
 JESUS BEFORE CAIAPHAS. 
 
 FIRST TYPE. 
 
 The innocent Naboth is condemned to death on 
 false accusation, just as also false witnesses are 
 brought against Jesus in order to condemn Him to 
 death. Naboth is kneeling there, and around him 
 are the people who are in the act of stoning him 
 to death. 
 
 Oh how my heart of hearts would bleed 
 
 To see the Holy Jesus there! 
 
 Betrayed, disgraced, within the palace, 
 
 Bearing vile sinner's utmost malice. 
 
54 Second chief Part, 
 
 Say who could now suppress a tear? 
 From Annas and to Caiaphas dragged along, 
 What must He suffer from that heartless throng? 
 The picture of His misery is here. 
 
 „Let Naboth die at once" the people scream 
 „For thee, oh King, and God he did blaspheme 
 
 Destroy him from our land" ? 
 Proud Jezebel suborned them thus to speak, — 
 
 That wild and lawless band 
 By a false oath her will to wreak. 
 
 Naboth to cruel death they bring 
 For uncommitted crimes. 
 And perjured judges to the king 
 The vineyard give betimes. 
 
 A picture of our earthly ball: — 
 
 Thus often, in our day, 
 The little harmless lamb must fall. 
 
 To the grim wolf, a prey! 
 
Ninth Representation. 55 
 
 Ye mighty ones of earth are set 
 
 To help humanity : 
 Oh do your part, and ne'er forget 
 
 Your God's allseeing Eye. 
 
 All men are equal, in His view, 
 The lofty and the lowly too: 
 In noble's or in beggar's dress, 
 God only looks at righteousness. 
 
 In a second picture the pious sufferer Job, is 
 represented a true image of human misery, im- 
 piously condemned by his friends, and despised even 
 by his own wife. — The choir sing the connection 
 of this picture wdth the Ecce Homo. 
 
 See what a man! bereft of vigour, 
 A horror to our mortal eyes! 
 A withered skin stretched oer his figure. 
 On his lean lips and visage lies. 
 
 Oh what a man! how sore afflicted! 
 How piteous is his distress! 
 His sufferings can not be depicted. 
 His bones consumed by rottenness. 
 
 *. 
 
56 Second chief Part. 
 
 Ah what a man! what woes betide him 
 Poor Job! who weeps not at his case? 
 And yet his wife and friends deride him, 
 And mock the sufferer to his face. 
 
 Ah what a man! 
 How can we call him human? 
 From head to foot no beauty left 
 Of every grace long since bereft. 
 
 Ah what a man! 
 
 Your eyes oerflow with weeping 
 
 No longer at a man as then 
 
 But Christ who bore the taunts of men. 
 
 Ah what a man! 
 Oh hearts with tears o'erflowing 
 Think of your Lord, your Saviour dear 
 Who bore reproach, and many a sneer, 
 And endless depths of woe beyond our knowing 1 
 
 Ah what a Man? 
 
Ninth Representation. 57 
 
 SECOND ACT. 
 
 After Christ has appeared before Caiphas and 
 the high Council, a painful examination begins for 
 Him. Witness on witness comes with proofless 
 charges and accusations against Him, and the con- 
 clusion is now as always. „He has blasphemed 
 God. — He deserves death." And so He is led 
 into the Hall of justice, where the maids are just 
 busy in lighting a fire. John and Peter enter to 
 get information about the fate of their Master, and 
 it was here that Peter was so unhappy as thrice to 
 deny his Lord and Master, before the cock crew 
 twice. So terrible his fall! So touching his repen- 
 tance! The soldiers then begin their cruel mockery 
 of the God-Man : they bind His eyes and , spitting 
 at Him, and striking Him in the face, ask Him 
 scoffingly. „Who was it that smote The?" In all 
 these sufferings Christ is Victor, and, through His 
 inexhaustible patience ant gentleness, triumphs over 
 the whole scene — the roughness of the soldiers 
 stands as a dark shadow against the sunlight, which 
 pours from the whole form of Jesus. Judas the 
 
58 Second chief Part. 
 
 contriver of all these horrors, racked by an evil 
 conscience, comes into the house of Caiaphas to 
 see what issue the matter will take. — „ Cursed be 
 the step I have taken." With these words of 
 Judas, the following act is introduced. 
 
 TENTH KEPRESENTATION. 
 
 JUDAS IN DESPAIR. 
 
 FIRST TYPE. 
 
 The murderer Cain wandering about a fugitive 
 and a vagabond, driven by the stings of an evil 
 conscience, appears alone- quite alone in the wilderness. 
 He and his gnawing conscience. He is a mournful 
 type of the traitor Judas. 
 
 Woe to the man (Christ's words ye see) 
 
 Who will his Lord betray: 
 
 Far better had it been if he ^ 
 
 Had never seen the day. 
 
 And this, the sentence of his woe. 
 
 Will follow whereso e'er he go. 
 
Tenth Represented^, 
 
 
 71 
 
 Vials of wrath wil oer him pour, 
 The raging Furies will pursue, 
 And cry for vengeance ever-more, 
 With pangs of conscience ever new. 
 The raging Judas goes in quest 
 And no where finds a place of rest, 
 Until at last all hope is o'er; 
 And, in despair, away he cast 
 All the insufferable past! 
 
 So Cain may fly — but where, oh tell? 
 Within thee are the pangs of hell. 
 And every-where they go with thee. 
 Haste thee away from vale to hill, 
 Their scourge the Furies brandish still 
 Where thou art, they are sure to be. 
 Thou never wilt outrun thy pain, 
 Thy sin it will recal again; 
 For if today no vengeance come. 
 Heaven will new thunders borrow, 
 And only send a thwo-fold doom. 
 Upon your heads to-morrow. 
 
60 Second chief Part, 
 
 SECOND ACT. 
 
 Jesus is again dragged in by the officers, and 
 placed before the Council. Judas, without rest or 
 repose, comes and wishes to reverse the sentence of 
 the guiltless One, but is rebuffed with scornful 
 laughter and disdain. The wicked man has done 
 his duty, the wicked man may go! Twice thrust 
 away — first by Jesus and His disciples to whom he 
 never dares to draw near, and on the other side 
 even by his accomplices, Judas in now quite alone 
 with his money, and his guilt. But the sight of 
 blood terrifies the murderer, just as this price of 
 blood burned into his soul. He can contain himself no 
 longer. He casts the money at their feet, and rushes 
 out without Jesus, without money, without hope^ 
 and „it was night!'' 
 
 Now the curtain rises (Sebastian Brunner thus 
 describes this scene), an open country is seen opposite 
 the fore-ground — a hill, with a tree which has a 
 leafy top and the thin branches of which project 
 below. Judas rushes hither — the very image of 
 despair. He holds a long monologue which is 
 
Tenth Representation. 61 
 
 followed with the most eager attention by the 
 spectators. The Poet here sought to illustrate the 
 words of the Evangelist (Luke 22). Satan entered 
 into him." The oft-recurring refrain of his madness 
 is : „I can no longer bear the rack of my con- 
 ^,science — my treachery has for ever excluded me 
 „from His disciples: for me there is no hope — 
 „no pardon — no deliverance !" The uneasy glances 
 which during his raving he casts at the tree, make 
 us suspect for what design he has chosen it. It 
 draws him nearer and nearer to the hill — one 
 hasty leap! He is close to the trunk. The thick 
 branches project below% and hinder him in his pur- 
 pose. With the strength of despair, he breaks them 
 down : and what is seen is also to be heard. Crack ! 
 Crack! Crack! His girdle is quickly tied into a 
 noose; he throws the noose over one of the higher 
 branches — an expression of the deepest despair 
 on his face! — At this moment the curtain falls, 
 while the last cry of despair, and the fearful cracking 
 j)f the branches, still ring in the ears of the spectators. 
 
62 Second chief Part. 
 
 ELEVENTH REPRESENTATION. 
 
 JESUS BEFORE PILATE. 
 
 FIRST TYPE. 
 
 Daniel has dared, in spite of the royal command, 
 
 to pray to the true God and is on that account, at 
 
 the urgent request of the princes of the King Darius, 
 
 thrown into the den of lions. 
 
 Dan 6. 4. 
 
 The choir point out the relation between Daniel 
 
 innocently condemned to death and Christ in the 
 
 following manner. 
 
 He has blasphemed our God! 
 
 Hear what the, witness saith; 
 Our law puts forth it's rod. 
 
 And He must go to death. 
 
 „T is thus the Council cries. 
 
 To Pilate we will now repair, 
 
 To him will make our accusation. 
 
 He will pronounce the condemnation. — 
 
 Ye see, in the dumb picture there. 
 
Eleventh Representation. 63 
 
 As long ago at Babylon, 
 Falsely they charge God's holy Son. 
 
 „Foe of the gods is Daniel. 
 „Hear thou, great King, while we complain, 
 
 „He has destroyed the mighty Bel, 
 „The Dragon, and the Priests hath slain. 
 
 „In fury now before thy throne, 
 
 „Appears the whole of Babylon. 
 „If thou thy life from us wouldst save, 
 „Send the Blasphemer to the grave: 
 „0h let him die — his death alone, 
 „Will in our idol's sight, atone." 
 
 And thus that evil Council hies, 
 
 To Pilate with revengeful cries: * 
 
 Accuses Christ with angry breath. 
 And just as in that former age. 
 Lions and tigers in their rage. 
 
 The innocent they hunt to death. 
 
 Oh envy, thou art Satan's child! 
 What enterprize would be too wild. 
 For thee to undertake. 
 
64 Second chief Part. 
 
 Nothing is sacred in thy eyes, 
 And all, all thou wouldst sacrifice, 
 Thy furious rage to slake. 
 
 Woe unto him, around whose mind 
 The serpent-chains of Envy, twined, 
 
 Shall carry him away ! 
 That such a deadly viper brood, 
 May never in yone heart intrude, 
 
 Oh Brethren! watch and pray! 
 
 SECOND ACT. 
 
 Christ appears once more before the high Coun- 
 cil. Caiaphas puts the solemn question to Him: 
 5jTell us. Art Thou the Christ ?** and still more solemn 
 sounds the answer : „Thou sayest it — I am He" I 
 The High Priest rends his clothes, and cries: „He 
 has blasphemed God ! Why need we witnesses ?" 
 All cry: ;,He is guilty of death! Away with Him 
 to Pilate." But the Roman Governor receives the 
 passionately excited people with the coolness of an 
 old Roman Judge; for he sees, at the first glance, 
 the innocence of the One so vehemently accused. 
 
Eleventh Representation. 65 
 
 and the passion of His Accusers. He takes Jesus 
 to examine Him alone, and there fully convinces 
 himself of the innocence of Jesus : but the accusers 
 and agitators urge him, and when Pilate hears that 
 Jesus is a Galilaean, he makes a diplomatic move- 
 ment and sends the Accused to Herod, — as the 
 Prince of Galilee. Very dis-satisfied and indignant, 
 they withdraw to Herod. 
 
 TWELFTH REPRESENTATION. 
 
 JESUS BEFORE HEROD. 
 
 FIRST TYPE. 
 
 Hanun, King of the Ammonites abuses the ser- 
 vants of David who are standing there with shorn 
 head and beard and with their clothes cut off. Thus 
 Herod sets at naught the God-man. 
 The Pharisees are put to shame! 
 „He hath done nothing", Pilate saith, 
 That J should grant your envious claim, 
 Or pass the sentence for His death." 
 
66 Second chief Part. 
 
 But ah! what is it now I see, — 
 This scene which 1 behold ? 
 Horror and trembling sieze on me, 
 My very blood runs cold. 
 
 As Hanun once his scorn hath shown, 
 By half shorn beard and dresses rent, 
 To messengers who had been sent, 
 By David to his royal throne: 
 
 Thus now the holy Saviour bore, — 
 Who does not shudder at the thought? 
 Insult and mockery, o'er and o'er. 
 When He to Herod's bar was brought. 
 
 SECOND ACT. 
 
 Herod a crowned voluptuary, whose chief 
 business is feasting, is glad at the sight of Christ 
 and wishes to gain some pleasure from it. He puts 
 various questions to Christ. The God-man is silent. 
 He wishes to see a miracle from Him. The God- 
 man is silent! Herod is thereby ashamed before 
 his curtiers, and humbled into nothing before the 
 
Twelfth Representation. 67 
 
 majesty of the present God, and he tries to redeem 
 his kingly credit by exposing Jesus to scorn as a 
 mock-king, with purple robe, and a reed for a 
 sceptre — as an amusement to his people! But 
 even Herod can fin no cause of death in Him, and 
 sends Him back, without any farther sentence, to 
 Pilate. The blood-thirsty Jewish people were not 
 satisfied thereby, for they have received a promise 
 from the high Council that Jesus shall die, — the 
 sooner the better, if possible, before the feast. 
 With the cry „Let him die!" „Let him die!'^ the 
 procession moves back into the court of justice be- 
 fore Pilate. 
 
 THIRTEENTH REPRESENTATION. 
 
 THE SCOURGING AND CROWNING WITH THORNS. 
 
 FIRST TYPE. 
 
 The Brothers of Joseph show their father the 
 coat of many colours of Joseph, which they had 
 
 E2 
 
68 Second chief Part. 
 
 clipped in the blood of a goat. Old Jacob is dis- 
 consolately ringing his hands. (Gen. 37 — 31). This 
 Picture is preparative to the scourging of Christ, 
 when the robe of Christ is drenched with blood. 
 
 Not yet accomplished in their plan, 
 Nor satisfied their rage or hate: 
 Such envy could the Foe of man 
 Alone, devise, or consummate. 
 
 Cleave mighty rocks ! and with your fragments hurled, 
 Satanic men like these, hide from the world! 
 
 No respite shall they find below! 
 
 No longer shall they live — ah no! 
 
 Oh what a picture of distress 
 Poor Joseph's coat all stained with blood! 
 And on the cheks of Jacob stood, 
 Tears of the deepest bitterness. 
 
 ^5 Oh where is Joseph? where my joy, 
 „Upon whose eyes mine loved to rest? 
 „That ill befell my darling boy, 
 „This blood stained garment will altest." 
 
Thirteenth Representation, 69 
 
 .,Some evil beast has surely slain, 
 
 „Has torn my child away from me: 
 
 „I long. I long to follow thee! 
 
 „No comfort can allay my pain. 
 Bewailing thus his grievous lot, 
 He mourns for Joseph, who is not I 
 
 Thus was the body of our Lord 
 
 With fury torn! 
 
 This He hath borne, 
 From His deep wounds, the life-blood poured. 
 
 On this Type follows a second representing 
 Isaac on the altar. Abraham is just holding the 
 head of the ram appointed for the sacrifice, which 
 is quite entangled in thorns. The Choir apply this 
 picture to the crowning of Christ with thorns. 
 
 Oh Abraham Abram stay thy hand! 
 
 Thy faith has answered God's demand. 
 
 Thy sacrifice, heaven did accept and bless, 
 
 Thy son is thine again — the nations happiness ! 
 
70 Second chief Part, 
 
 And Abram saw, caught-by the horns 
 A ram and sacrificed him there; 
 Gods victim saw among the thorns, 
 And saw His providential care! 
 
 This picture shows a mystery- 
 Veiled in a deep obscurity: 
 This ram, entangled by the horns, 
 May point to Jesus crowned with thorns ! 
 
 Ye Passers by, look long and well 
 At such a scene, till ye can tell 
 If any sonows what so e'er, 
 Whit those of Jesus can compare ! 
 
 SECOND ACT. 
 
 Christ stands again before Pilate. A struggle 
 arises between the Governor who makes all possible 
 attempts to save the life of the innocent Jesus, and 
 between the infuriated Jewish people who, without 
 any right feeling and quite inaccessible to motives 
 of justice and law, can only cry again and again. 
 „He must die!^ „He must die!" Pilate wishes to 
 
sentation, ? 71 
 
 concede something to te rage oriKe^eople, and 
 suffers Him to be scourged in order to save His 
 life. A vain attempt! for one cannot come to terms 
 with passion. They accept the offer that Jesus 
 should be scourged; — but He must die too! 
 Behind the curtain of the stage one hears the 
 sound of strokes from a scourge: as the scene 
 appears there stands Jesus bound to a pillar, sur- 
 round et by brutal soldiers. — He is bleeding from 
 many wounds, and when, after the last stroke, He 
 is unbound from the pillar, He falls back in ex- 
 haustion. Carried away from the roughness of the 
 soldiery. He is mocking-*ly treated as a King, while 
 a torn purple robe is given to Him, and a reed for 
 a sceptre. One thing is still wanting — the crown ! 
 Amid bursts of loud scornful laugther, a crown 
 woven of sharp thorns, is brought, and set on the 
 head of the King of the Jews, and pressed down 
 on to His brow and head, by the officers with 
 knotted sticks, so that streams of blood pour over 
 the pace of Christ. This scene, says Clarus, was 
 agitating and could not have been endured, if the 
 
72 Second chief Part. 
 
 heavenly submission of the Lamb come to the 
 slaughter, had not raised our thoughts above it, so 
 that every horror seemed only a means of glorifying 
 this divine composure. 
 
 FOURTHEENTH REPRESENTATION. 
 
 JESUS IS CONDEMNED TO DEATH OF THE CROSS. 
 
 FIRST TYPE. 
 
 Joseph in Egypt, in magnificent dress, adorned 
 with the chain, of gold, is riding in a triumphal car, 
 and presented to the people as the father of the 
 country — a companion-picture for the Ecce Homo. 
 
 Scourged cruelly and crowned with thorn. 
 Exposed to bitter taunts and scorn. 
 
 As though He had done sonething ill: 
 Who, who could see Him suffer thus. 
 The Holiest suffering for us. 
 
 Nor feel the pang of pity thrill? 
 
Fourtheenth Representation, 73 
 
 Ah what a man ! 
 Who sees not His divinity? 
 
 Ah what a man ! 
 Can this be mere humanity? 
 
 See what a man? 
 Joseph advanced to majesty! 
 
 See what a man! 
 And Christ exposed to sympathy! 
 
 Egypt in Joseph's fame rejoices 
 Through out its length, from end to end, 
 ,jLong may he live", cry mingling voices, 
 „Our countrys father and our friend.^ 
 All will unite, both great and small, 
 In this our joyful festival. • 
 
 Thou Egypt's joy and consolation. 
 Fortune unparelleled is thine! 
 Joseph! to thee a mighty nation, 
 In doing homage, will combine 
 
 Long may he live etc. 
 
74 Second chief Part, 
 
 A second king, thy throne possessing 
 Amonget us, and in every heart 
 Harshness, thou wilt repay with blessing 
 O hail! our country's pride thou art! 
 Long may he live etc. 
 
 In a second picture appears Moses, kneeling 
 
 before the Altar ; on one side lies the goat slain by 
 
 Aaron for the sins of the people, while the other 
 
 goat has already been suffered to escape into the 
 
 wilderness. 
 
 Leviticus 16-^7. 
 
 The choir apply this picture to Jesus and Ba- 
 
 r abb as of whom the First is appointed as a victim 
 
 for the sins of the people, but the other is suffered 
 
 to go free. In this chorus the usual choir of pro- 
 
 tecting-spirits are in the front of the stage, while 
 
 the people behind the curtain reply whence arises a 
 
 splendid antiphon: and, in a most striking manner, 
 
 the contrast in shown between the noisy madness 
 
 of excited passion, and the silent confidence of 
 
 innocence. 
 
Fourtheenth Representation. 75 
 
 In days of old, by God's command, 
 Two goats prepared for offering stand: 
 One shall the people's sin atone, 
 And, by a lot, will soon be known. 
 Which God hath chosen for His own. 
 And when the victim's blood is poured. 
 Forgive Thy people, gracious Lord! 
 
 The blood of goats our God command 
 
 No longer, at His people's hands^ 
 
 But a new victim He demand; 
 
 A Lamb, from every blemish free, 
 
 God's chosen sacrifice shall be: 
 
 His only Son, hath God decreed 
 
 He comes — He falls — He soon will bleed. 
 
 Choir: A cry of vengeance comes to me ! 
 Let Jesus be 
 From fetters free! 
 Alas! how loud for death they cry! 
 
 People: O crucify Him! Crucify! 
 
 Choir: O look upon that guiltless face. 
 
 What was He done to bring disgrace? 
 
76 Second chief Part, 
 
 People : If thou shouldst let this sinner go, 
 
 Thou art not Caesar's friend, but foe. 
 
 Choir : Jerusalem ! Jerusalem ! 
 
 The blood of Christ, God will on you avenge. 
 
 People : Oh let it be on us and on our children ! 
 
 Choir : Oh may it be on you and on your children ! 
 
 SECOND ACT. 
 
 Pilate — the Roman, still stands there like a 
 fortress, and will not sacrifice his sense of justice. 
 Now the time is come to defy the last decisine 
 storm. As the breakers at high-water dash against 
 the rock-bound coast and back again. Like thunder 
 the waves strike against each other with roaring, 
 and raging and hissing, so that the waters spend 
 themselves in foam and spray; so now the masses 
 of people, excited to uproar, roll forward to the 
 Palace of Pilate; and accusations, threats, intimida- 
 tions, and all the weltknown means of agitation and 
 revolt, are directed against the balcony of Pilate's 
 house — He stands unmoved on the side of right, 
 
Fourtheenth Representation. 77 
 
 and looks down, with contemptuous eye, on the 
 vulgar impulses of violent passions below. 
 
 Now the blessed Virgin Mary appears with the 
 Magdalene, John, and other friends. The lamenta- 
 tion of the Mother, who sees her Son hopelessly 
 lost among devouring Wolves, makes every heart 
 tremble. The „Mater Dolorosa" stands there, in the 
 midst of this enraged and blood-thirsty crowd, like 
 a Pharos whose light, sustained by a mother's love 
 and agony, illumines for a short time the troubled 
 waters. While Bilate under-takes a last examination 
 of Christ the fanatic mob storm him once more and 
 play their last card. „If thou lettest this man go, 
 thou art not the friend of Caesar.^ That starttes 
 him. He wavers — Human considerations, and fear 
 for his office and position in the world, pass, like 
 dark shadows, over his brow. 
 
 But after he has done every- thing to save Jesus, 
 he -makes a last attempt, when he makes use of the 
 right of pardon granted to the people at Easter, and 
 places beside the heavenly form of Christ. Barabbas 
 — one of the darkest specimens of the human race: 
 
78 Second chief Part, 
 
 hoping that the people could not do other wise than 
 ask for the release of Jesus. But I hear the mur- 
 derous cry. ;,Release unto us Barabbas!" Pilate, 
 in order to regain his social position sacrifices the 
 innocent Jesus, and is driven so far as to condemn 
 Him after a form of justice. But the noble Roman 
 is ashamed of himself His inner consciousness of 
 right might be covered, but could not be destroyed, 
 by out ward unmeaning formulas; and, to save at 
 least the appearance of justice, he orders water to 
 be brought, washes his hands, and declares himself 
 innocent of „this Just Person" w^hom he had just 
 condemned to death. Thus Pilate pronounced sen- 
 tence on himself, as well as on Christ as the Jews 
 also pronounced sentence on themselves and on their 
 people, when they cried, more than once. „His blood 
 be upon us and on our children !" 
 
Trl 
 
 THIRD CHIEF PAET. 
 
 FIFTEENTH REPEESENTATION. 
 
 THE VIA CRUCIS. 
 FIRST TYPE. 
 
 Isaac bearing the word for the sacrifice goes 
 up Mount Moriah: this Jesus bears the cross, to 
 Calvary the mount of sacrifice. 
 
 Prayers and praises ofier up! 
 He who drank the bitter cup, 
 Now will so unto the cross, 
 To redeem a world from loss, 
 Up the mountains weary road, 
 Isaac bore the wood afar: 
 Jesus bows beneath the load. 
 Of his cross to Golgotha! 
 
 Prayers and praises etc. 
 
80 Third chief Part. 
 
 A second type shows the Brazen Serpent in 
 the wilderness, which Moses put up on a cross: 
 thus Christ also was lifted up on the cross. 
 
 The Son of Man upon the tree 
 Was nailed and lifted for our sake: 
 As type of which we Moses see 
 Uplift on high the brazen snake. 
 Prayers and praises etc. 
 
 In the third picture Moses is pointing to the 
 brazen Serpent the sight of which heals those who 
 had been bitter by the passionous serpents: thus 
 Christ, upon the cross, is a Saviour to all sinners, 
 who believe on Him. 
 
 Cured from deadly serpents, go 
 Israel through the wilderness: 
 And from Jesus cron wall flow 
 Streams of life and blessedness. 
 Prayers and praises etc. 
 
Fifteenth Representation, 81 
 
 SECOND ACT. 
 
 The bearing of the cross of Christ is represented 
 as we are accustomed to contemplate it in our de- 
 votions at the ninth station. From a distance is 
 heard the approach of the procession whose leader, 
 a Roman captain , on horse - back is already visible ; 
 then comes Jesus wearily dragging along His heavy 
 cross, and almost fainting under its weight: the 
 two thieves with their crosses follow; together with 
 officers of death , soldiers , priests , desecraters of the 
 Temple, and other inquisitive spectators from Jeru- 
 salem. 
 
 After the exhausted Jesus has fallen beneath 
 the cross, the soldiers (but amid blasphemies) lift 
 Him up, and pull Him on by ropes, and, because 
 they see their victim sinking by the way, they sieze 
 on Simon the Cyrenian (who casually and forboding 
 nothing was coming along the road) and compel 
 him to help to be ar the cross. — Meantime, from 
 a side street, come the women of Jerusalem with 
 their children in their arms, and Christ speaks to 
 them the memorable words : „You daughters of Jeru- 
 
 F 
 
82 Third chief Part. 
 
 salem, weep not for Me, but weep for yourselves 
 and for your children!" — While the moiu-nful pro- 
 cession moves towards the middle of the stage the 
 Mother of Jesus is seen coming down on the right, 
 suppreted by John and the Magdalene; silent, and 
 bowed down with sorrow, she is following the pro- 
 cession from the distance. 
 
 SIXTEENTH REPRESENTATION. 
 
 JESUS ON THE CROSS. 
 
 This scene is affecting by beautiful, when the 
 Choir come forward (not as before in gay dresses, 
 but veiled in mourning attire with frontlet, cloak, 
 girdle and sandals — Every thing of a dark colour). 
 The address of the Choir- Leader accompanied by 
 soft music is a moving melodrama. 
 
 Arise ye pious souls and ponder 
 What Jesus bear for your relief! 
 And, while to Golgotha we wander. 
 Pour out your hearts in love and grief. 
 
Sixteenth Representation. 83 
 
 That hath of sorrow, Jesus trod, 
 To reconcile our souls to God. 
 
 Nothing but wounds has He to shew, 
 For thee, upon the cross He hangs: 
 And impious people come and go. 
 And take a pleasure in His pangs: 
 But He, through whom the sinner lives, 
 Is silent, — suffers, — and forgives! 
 
 I hear His tender limbs give way 
 When stretched upon the fatal tree. 
 His anguish who can tell? oh say 
 Who can endure the sight to see? 
 What bosom but with horror quails 
 When they drive in the cruel nails^ 
 
 Come pious souls, in faith draw near 
 Unto the Lamb who died to save: 
 See Him between the murderers here 
 His life for you He freely gave. 
 And if His blood for us He shed. 
 Shall we not give Him tears instead? 
 
 F2 
 
84 Third chief Part, 
 
 We hear Him fray, with dying treath, 
 To God His murderers to forgive. 
 And then at last He suffered death 
 That we the life of faith might live. 
 Through His dear side the spear did go, 
 His heart of love the more to show. 
 
 With the following words the address of the 
 Choir - Leader passes imperceptibly into song which ; 
 like the tones of the Aeolian Harp, awakens the 
 most melancholy feelings of the soul. 
 
 Oh who such depths of love can measure 
 
 Which loveth to the end? 
 His murderers even, it is His pleasure 
 
 To pardon and befriend. 
 
 Choir: To love in such perfection. 
 
 Oh bring your hearts affection! 
 Here ever sacrificed 
 Oh give it unto Christ! 
 
Sixteenth Representation, 85 
 
 The singing dies away after it has produced 
 the deepest feelings of sorrow and of compassionate 
 grief in the soul, and thus has been a preparation 
 for that Good -Friday state of mind, which is ne- 
 cessary to embrace the chief point of the whole 
 Passion, — Christ on the cross. 
 
 At the rising of the curtain, Golgotha is seen. 
 Priests, soldiers and people move about the scene. 
 The two thieves are hanging on their crosses, with 
 their arms bound to the cross-beams: while the 
 great cross, on which Jesus has been nailed, is 
 still lying on the ground, to be presently set up 
 and placeii firmly in the earth. Perhaps twenty 
 minutes elapse before the taking down from the 
 cross : meantime every eye is fixed on the stage, — 
 almost afraid to breath for fear of not hearing the 
 last words of Jesus, or of disturbing the sacred 
 stillness of death; which is only interrupted by 
 weeping and sobs from the hearers. The impression 
 on the spectators, and the universal sensation are 
 indescribable, one feefe as though one had lived 
 through it, and felt it, and wept over it one self. 
 
86 Third chief Part 
 
 Devrient, a Protestant and an actor, says of it: 
 ,5 What an impression is made by this real crucifix! 
 „the figure is truly beautiful : the out stretched arms, 
 ,5 the bowed Head, make the deepest impression, 
 „ which receives a peculiar power from the dramatic 
 „life, which carries us back more than 1800 years, 
 „and into full sympathy with those who stand beside 
 „the cross — Mary supported by the women, John, 
 „with once ^Ided hands , now rung with sorrow^, 
 5,gazing up at his Master; and the Magdalene, with 
 „her fair hair let down , leaning her head against the 
 „ cross. Whit what weight all the words from the 
 jjCross sink into our soul! His look upon His mo- 
 „ther and on John, the last sinking of His head — 
 5, what a consecration of the deepest feeling — what 
 „He has done for us, we have experienced with 
 „Him!" 
 
 Christ dies ! There is a sound as of thunder 
 in the distance, the sun is darkened — a priest 
 rushes in with the message that the :5reil of the 
 Temple in rent, from the top to the bottom. The 
 mockers are silenced, and, full of uneajy feelings, 
 
Sixteenth Representation, 87 
 
 withdi^^w from the scene. But the soldiers, with 
 their white head-bands^ their short shirts, and scarlet 
 trowsers, — true pictures of unfeeling barbarity, 
 according to the command, are just going to break 
 the bones of the two still living thieves, and then, 
 when dead, to take them down and to drag them 
 away. Because Christ is already dead, they do not 
 touch His body: but the Centurion, with a spear 
 pierces His side, and blood and water flow from the 
 wound. Now follows the taking down from the 
 cross , a picture , as the painters of the middle ages 
 have represented it, full of tender compassionate 
 love. Nicodemus gets up by a ladder at the back 
 of the cross, and puts a long piece of white linen 
 around the body of Christ, so that both ends fall 
 down to the ground, and are held by two man, who 
 stand below. While the nails are driven out from 
 behind, and rattle upon the ground, Joseph of 
 Arithmathea climbs up in the front of the cross, 
 takes the sacred body reverently upon his shoulder, 
 and slowly bears it down to wrap it in the white 
 linen, and to lay it on Mary's bosom. 
 
88 - Third chief Part. 
 
 On both arms of the empty cross, hangs a 
 piece of white linen to the ground in artistic folds. 
 Christ's body is then wound with spices in the linen 
 clothes, and buried in the rocky cave behind the 
 cross : and a great stone was rolled over it. The 
 curtain falls slowly in order to give every spectator 
 one last parting look into the grave of the dead 
 Saviour. 
 
 SEVENTEENTH REPRESENTATION. 
 
 THE RESURRECTION. 
 
 FIRST TYPE. 
 
 Christ is aline! Christ reigns and rules! Death 
 and the grave are vanquished. — The triumphant 
 Easter- day has dawned. The Choir have therefore 
 laid aside their mourning robes, and appear in gay 
 and festive garments. The Choir then explain the 
 first type — that the whale after 3 days put Jonah 
 safely on to dry land (Matth. 12, 40.). 
 

 Seventeenth RepresemaifOn.""" 89 
 
 Thou, oh Love! for us hast striven 
 With a courage vs^orthy Heaven: 
 Fought our, battle to the close! 
 Thou, oh Love! for wicked sinners 
 Withing by Thy life-blood gave, 
 May the sense abide within us 
 Of the Love that died to save! 
 In the rocky caves recesses, 
 Eest, from all Thy deep distresses, 
 Sacred Form! and take repose: 
 Gently on earth's bosom sleeping. 
 Till Thy glory comes to Thee: 
 No corruption o'er Thee creeping. 
 Shall disturb Thy sanctity! 
 
 As Jonah, in the jaws of death. 
 Thus within earth's dark bosom lay 
 The Son of man, till at a breath. 
 He burst all bonds and seals away. 
 
90 Third chief Part. 
 
 Oh Triumph! death will not detain! 
 As Jonah from the mighty whale, 
 So Christ will o'er the grove frevail, 
 And will arise to life again! 
 
 A second type shows us the People of Israel 
 who have passed trough the Red Sea on dry land: 
 while the waves of the sea roll over their enemies 
 — the Egyptians. So Christ passes victorious by 
 through floods of cruel suffering, through death and 
 the grave: but His enemies are vanquished! 
 
 Great is the Lord and His compassion! 
 His people Israel ^all be 
 Lead through the waves, in wondrous fashion. 
 And find a pathway through the sea! 
 
 Oh joy! the Dead new life shall know: 
 Death shall not cover Him with night: 
 And He, arising in His might. 
 Shall go as conguered from the grave! 
 
 SECOND ACT. 
 
 By the grave, which is well closed by the stone 
 and sealed, four soldiers are watching; whilst they 
 
Seventeenth Representation. 91 
 
 are sleeping an angel appears, who, with a sound 
 like thunder, rolls away the stone, and Christ rises 
 glorious by from the grave, in majestic beauty, 
 encircled with heavenly glory, with the banner of 
 victory in His hand! The watch -men, awakened 
 by the sound, and dazzled by a sea of light, fall 
 staggering back: and, after they have some what 
 recovered from their terror, go away. They soon 
 come back again with the Pharisees, who wish to 
 convince themselves, on the spot^ of what has 
 happened : and when the matter could not be dis- 
 puted, they offer money to the watchmen, if they 
 would help to circulate the pe, that His disciples 
 came by night, while the soldiers slept, and stole 
 the body of the Lord. But the Roman soldiers do 
 not condescend to such a common place lie. Mean- 
 time come also pious women to visit the grave, and 
 to embalm the body of the Lord with costly spices* 
 Great was the sorrow in which they came! indescri- 
 bable the joy with which they went home, and 
 brought to the Apostles the joyful message, that 
 Christ was alive, and had risen: as -they had heard 
 
92 Third chief Part 
 
 from the mouth of the angel. The scene is also 
 here inserted, where the risen Jesus appears, as a 
 gardener, to Mary Magdalene, after which te cur- 
 tain falls and the concluding representation begins. 
 
 CONCLUDING REPRESENTATION. 
 
 The choir open this concluding act with the 
 following triumphant song: 
 
 Hallelujah! 
 Vanquished death's dreaded powers 
 Hath the Hero by His might! 
 Slumbering only a few hours, 
 In the grave's dark night. 
 Sing to Him in sacred Psalms, 
 Strew for Him the Victors Palms, 
 
 For the Lord in risen ! 
 Ye Heavens with His praises ring! 
 Thou earth unto the Victor sing 
 
 Who hath burst the prison ! 
 Praise Him who did the triumph win, 
 Who was condemned at Gabbatha, 
 To Him who saves our soul from sin 
 Who died for us on Goleratha! 
 
Concluding Representation, 93 
 
 To God give thanks again! 
 The Lamb who once was slain; 
 
 Hallelujah! 
 But who, victorious o'er the grave, 
 Has risen and is strong to save! 
 
 Hallelujah ! Hallelujah ! 
 
 Let the harp sound! its trembling string 
 Joy, on our immost soul, shall pour: 
 
 Crowns for the conqueror, wo will bring, — 
 For Him who lives for ever more. 
 Praise Him etc. 
 
 Sing praises all ye host of heaven! 
 
 Glory and honour Lord to Thee! 
 Worship and thanks to Thee be given 
 
 Henceforth and through eternity! 
 
 Praise Him etc. 
 
 During this entrancing song of triumph, which 
 carries all the audience away with it, and fills them 
 with joy, the curtain rises for the last time. Christ 
 — the Victor, in His glory, stands on high in the 
 midst — with the macks of His wounds now resplen- 
 dent: around Him companies of saints who are 
 hol(Jing out their palms of victory to the Redeemer; 
 while Jews and Heathen, — Pilate and his soldiers, 
 Priests and desecraters of the Temple, lie stretched 
 on the ground at the feet of the Universal conqueror. 
 
94 Third chief Part, Concluding Representation. 
 
 Thus is given the termination of the whole Hfe 
 of Christ — from suffering to joy — ^^Did it not 
 behove Christ to suffer and thus to enter into His 
 glory? 
 
 But that is also the destiny of human life in 
 general: through conflict, to victory, through death, 
 to life, through suffering, to joy! — There fore the 
 Passion of Christ is „the mightiest scene" in the 
 world; in which life is presented to our view in all 
 its depths, and in all its heights. If now at Ober- 
 Ammergau we have ccntemplated the suffering of 
 the Lord let us now return home, with fresh courage > 
 and bring it into actual life: then the vow of the 
 people of Ober-Ammergau will have attained its 
 object, — in the religious edification of the people 
 of our day — Like the people on Calvary, we will 
 smite upon our breasts, and silently depart. What 
 the Poet once sang will become a truth to every- 
 one, and also to thee: 
 
 „A11 its deep places and its heights unfolding 
 The live of lives before thee 1 unroll 
 That thou, the mightiest scene of earth beholding, 
 Mayst gain new riches for thy inmost soul!" 
 
 Druck «an C. Fr. 1 
 
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 «'Ul S4 1930 
 # JUL 7 1931 
 
 lOm-12,'23 
 
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