New national era. [volume] (Washington, D.C.) 1870-1874, 1872-10-17
Miracle Plays.

The worldwide interest and admiration
created by the representation of the ''Pas
sion Play" at Ober-A mmergan, by Bavariar
peasants and artifcers, may give us some
conception of the popularity of similar, though
ruder, exhibitions among our European fore.
fathers. Our ancestors did not enjoy the
benefits conferred by the printing press
Neither were there any dramatic representa-.
lions, except such dramas" or mysteries
or miracle plays" as were presented, first
by the members of religious orders and the
schools under their charge, and later by the
guilds or trades in the cities, and later still
by itinerant showmen. These last repre-
scented the characters by puppets. The show
of ''Punch and judy" popular in England
| is said to derive its origin and name from
Pontius Plate and the Judeans.
| The early Christian teachers denounced
| the stage, which in its performances was in
terwoven with the idolatry of the old reli-
gions. By permission, and indeed by the aid
of the Church, religious dramas and specta-
cles supposed to be in conformity with the
new faith, took the place of the profane
drama. Even st. John ChrysostOm, who
| flOurished in the fourth century, wrote 4 trag-
edy called 'The Dying Christ" which was
| acted in the churches. OF necessity these
performances deteriorated in character as
they were popularized, until in the advancing
light and knowledge of revived education
they were suppressed. The OberAmmergan
"Passion Play" remains among the very few
notable exhibitions which are tolerated.
Yet, as is well understood by those who OBJ
serve, we really know very little of what is
going on in the world around US. Within
twenty miles of this city there has been re-
Gently "enacted'' by an humble religious
society of ignorant persons representation
of the Last Supper. The piece was based
upon the well-known psture by Da Vinci,
and the costumes Of the disciples rigidly fol-
lowed a cheap and gaudy-colored Autograph
copy of the original engraving.
The "Divine Tragedy of our countryman,
Longfellow, in which the leading events and
teachings of the New Testament are put in
English verse, the familiar language being
retained, but arranged in a musical form, is
| the revival of the literary and dramatic work
of the fourth century. The Bishops of Lao
dicea, ApOlinarius, father and son, wrote
| Greek tragedies on the leading events of the
Old Testamcnts, and comedies on the dOmes-
tic narratives. The models followed were
the Greek dramas. The younger ApOlina-
rius reduced the -Four Gospels and other por--
| tions of the New Testament into Greek
dialogues, which were rehearsed by elOcll-
ClOulStS UPON Tic SGdSC. III JllS VcTSlOn the
| language of the original was retained; and
the public defamation did for the Bishops
work the publishing" which is much more
| suitably done for the modern poet by the
| printing press.
The first scenic performances in England
seem to have been the representation OF
| those sO-called sacred pieces. Though wan.
dering minstrels, and especially returned pill.
| grims from the East, had given outdoor reel.
! tations and presentations before that period
| the year lilo appears to be the date, and
| Dunstable the place where the first scenic
representation was enacted with fixed stage
prepared parts, and costumes supposed to be
appropriate. The subject of the drama was
| the legend of st. Catherine. The author was
Godfrey, prior of the Abbey of Dunstable
and the actors were his pupils. The last
| presentation of the "sacred drama" under
municipal or clerical authority was at York
| in 1886, and the secular drama "rose and
fiourished without loss of time on the stage
left vacant by its predecessor" Previously
however, to this formal abdication of the
stage by the sacred drama the secular had
been striving for hearing; and as the hui
man being has been described as "the animal
that laughs" the sacred comedies had given
no unfrequent exercise for his risibles. Even
upon the most solemn subjects burlesque side
scenes were engrafted, and the most awful
sanctions of religion travestied, as when, fOl
instance, baker who sold short weight was
carried to perditiOn in his own basket, amid
the cheers of an apprecativc audience.
The food, with Noah and his family, seems
to have been q favorite subject of these
dramas. NOah's wife, for some unexplained
reason, is usually presented in these old
plays as vixen of the most ternagant type
She was always averse to embarking in the
ark, and the poet Chaucer refers to the
''sorg" (sorrOw) Noah encountered $50 thai
he might get his wife to ship" In one O.
these dramas she protests, in rather profane
style, that she will not embark till she "sces
more need.' The difficulty is solved by hel
sons, who seize and bear her on boar(
against her determined resistance. Her hus.
band, Noah, who is waiting, cordially wei
comes her, to which welcome she responds
by boxing his ears. Certainly such perform
ances as these are among the things that tho
world can Willingly let die"
A recent publication, from which these
notes are drawn in part, congresses in about
thirty pages wcarisOmc capitulatiOn of thu
strange anachronsms and profanities of thu
miracle plays.' The Being highest ir
Heaven, the creatures lowest OIL earth ant
shocking familiarity repugnant to all moderI
ideas. But it is not just to Judge one era o
the world by later. While we congratulate,
ourselves on the superior light and knowledge
of the present century, the thinking min,
may ask if there are not some social, ma
tiOnal, and other anomalies which n bette
understanding of the spirit of religion ma,
consign to the limbo of obsolete absurdities
and which may lead our descendants few
centuries hence to say, " Poor creatures
they lived according to their light, and w
must not be too harsh upon them" Trutl
is neither old nor new, but eternal. 1t i
mans conception of truth which comes il
fashion and goes out again. 1t is mans in
depreciation of the "eternal verities," whic
claims to represent the truth from age to age
;. and which may debase the Divine to human
apprehension, as the miracle plays'' c
the past seem to us now to have debase
those sacred subjects. Philadelphia Ledge,
Old DIR. Cooper, of South Carolina, use
to say to his students, Don't be afraid
dirt, young gentlemen. What is dirt? Why
nothing at all offensive, when chemical
viewed. Rub little alkali upon the dirt
grease spot upon your coat, and it undergoe
a chemical change and becomes soap; no.
rub with little water and it disappears.
is neither grease, soap-water, nor dirt. Tha
is not very odorous pile of dirt you Sc