The Northern Guardian. — 1893-05-15 (Hartlepool, Cleveland, England)

LECTURE BY THE REV. W. WICKWAR.  The usual monthly meeting of the Guild of Ransom was held last night in the girls' school, Musgrave Street, when a lecture, entitled the " Passion Play of Ober-Ammergau," was given by the Rev. W. Wickwar. Councillor Loan presided. There was a large attendance. The Lacrunzu said the village of OberAmmergau is situated in the midst of the most beautiful of Bavarian scenery, and is now easy of access, chiefly by rail. The play is in fulfilment of a vow made by the villagers in 1633, that if ,Almighty God would remove a pestilence raging amongst them they would perform the passion tragedy in thanksgiving every tenth year. The vow has been faithfully observed, although the Franco-German War of 1870 cut the performances short. It was repeated in 1871 as an act of thanksgiving for peace. The time occupied is from 8 a.m. to about 5 p.m. on each of the days appointed for the performances. The drama itself is divided into three parts, containing in all seventeen acts, each act being preceded by one or more tableaux from the Old Testament, and is the work of the late venerable Pastor Daisenberger, of the village. He gave his whole life to the direction of his people in elevating and ennobling their per. formance. "I undertook the labour," he said, "with the best love for my divine Redeemer, and with only one object in view, namely, the edification of the Christian world." The lecturer then proceeded to examine the play. The chorus is introduced in the first act, which describes Christ's entry into Jerusalem, the music is truly devotional, and prepares the spectators for all that follows. The tableaux represent the expulsion from Paradise and the adoration of the cross. Christ enters Jerusalem amid the rejoicing of the people, followed by the disciples, who each carry a pilgrim's staff, hosannas resound on all sides as Christ wends his way to the temple, where He confronts the priests, Pharisees, and merchantmen whom he addresses thus:—" What do I behold? Is this the House of God, or is it a market place," and overthrowing the tables He scourges them with cords and drives them away. The priests then endeavour to turn the people against Christ and create quite a tumult. The second act represents a council of the high priests of the sanhedrim, who discuss the means to bead opted to secure Christ for having thus dared to purify the temple of His Father. The third act comprises two tableaux—the departure of Tobias for his home, and the lamenting bride of the Canticles with eight daughters of Jerusalem, which are intended to illustrate the parting of Christ from His disciples and His friends at Bethany. The character of Judas now becomes apparent when he selfishly protests against the waste of the ointment poured over the feet of Christ by the Magdalene. The fourth act is Christ's last journey to Jerusalem, and describes the taking of the bribe by Jades to betray his beloved master. The fifth act is the last supper, with tableaux—the manna in the wilderness and the grapes brought by spies from Canaan. The sixth act is the betrayal in the garden. Judas has appeared before the sanhedrim and sealed the compact to bring about the arrest of his greatest and most faithful friend. The seventh act represents Jesus in the garden and Judas approaching with a band of men. Jesus meanwhile has taken the three disciples, Peter, James, and John, and retired to pray when a tumult is heard, aud Jesus exclaims, "The hour is come. The on of Man is betrayed into the hands of sinners." Judas advances and greets him with a kiss. The band of men seize Christ and drag Him away, fearful lest He may escape them. The disciples are terrified and follow afar off. The eighth act is the Judgment Hall, where Christ is subject to a mock trial. The ninth and tenth acts, with tableaux, represent Christ before Caiaphas, where He is insulted and vilified by all those about Him. Judas, giving way to despair at his evil deed, seeks to escape remorse by committing suicide. The eleventh act—Christ before Pilate—is a striking scene, which is followed in the twelfth act by Christ being brought before Herod. Then follows, in the thirteenth act, the scourging and crowning with thorns of our Blessed Lord, culminating in the fourteenth act in the condemnation to death. The crowd ef people, raging and clamouring for His death, cry out as with one voice, "Let Barabbiis go free and the Nazarene perish," "Crucify Him, Crucify Him," "His blood be upon us and our children." Then is begun the way of the cross. Jesus, preceded by the two thieves, staggers under the weight of the burden laid upon Him, and of which He is only relieved on the approach of Simon, who is then compelled to take the cross to the summit of the hill of Calvary, whereon stood the mother whom Christ loved so well and his disciples. Arrived there, He is rudely seized by the soldiers, nailed to the cross, and raised on high ; yet, whilst hanging there, He prayed, "Father, forgive them, for they know not what they do." Then follows the convulsion of the earth, thunder is heard, and the people move away, feeling that they had brought about the death of one who, in the words of the Centurion, was truly the Son of God. The last act represents the taking down from the cross and the grief of Christ's afflicted mother as the body is laid in the tomb to await the resurrection. The whole play is most realistic, and, said the lecturer, must be seen so be clearly understood, the mind cannot grasp the beauty of its details, and I advise all who can to see this great religious representation of our Lord's passion, The characters are most admirable, the Christus is a man of splendid physique, whilst Barabbas is a mast insignificant person. Judas is represented by one who appeared intensely evil, and acted his part in a most satisfactory manner. The drama as a whole is remarkably conducive to great good, and well worth studying. The usual votes of thanks concluded the meeting.