THE DAILY EVENING TELEGRAPH PHILADELPHIA, SATURDAY, JUNE 11, 1870. THE MIIIA CLE-TLA Y. Ilellftlonn Iirninnn In Modern liny The 1'iunlon flny at Obrrainmeraiiii. A correspondent of the New York Tribune writes as follows: Odirammeboan, May 'JO. This long Ger wan name looks rather formidable, but only iueaim, in plain English, the upper district on the river Aiumer. The place lies in a remote valley of the Bavarian Alps, a little removed from the pout road that runs from Munich to Innsbruck, and half way between theui. The twelve hundred inhabitants busy themselves chielly with the conventional Yankee occupa tion of MhittliDg, but to some purpose, for they produce wood-carvings little inferior to the best Swiss work. The character of the peasantry is quite Tyrolean. The people are honest, obliging, temperate, Bitnplo, unbur dened with brains, brave, persevering, and pious. Their language is German, somewhat corrupted from that of the Prussian Court, and the religion of the country is universally Human Catholic Certainly do peasantry could be better fitted than they to rendor the fcvleuin scenes of the New Testament. It is no novelty to find this sacred drama given by peasants; it is merely a relic of the earlier ages. It is a combination, as it wore, of the theatre and the church an artistic performance, actuated by the purest religious motives. The origin of religious drama in the Christian Church is certainly as early a? the second century. During that and tho fol lowing century many of the Bible scenes were dramatized. Among these was, for example, the passion-play (Christos Paschon), ascribed to Gregory of Nazianzum. We have many proofs of the rapid and wide-spreading taste that existed for these dramas even before the,fifth century, and in the tenth century we find the very popular religious dramas of Ilroswitha. The exact date, however, at which these plays were put npon the stage is lost in the impenetrable gloom of the Dark Ages; but there exists proof that they were given in Bohemia and Thnringia in the thirteenth and fourteenth centuries. The subjects of these "mysteries," or miracle-plays, were taken from both the Old and New Testament, and from the lives of the saints, the New Testament being generally preferred. The actors were for a long time priests only, and whea it became necessary, from the greater number of parts, to intro duce the laity, it was only to fill tho minor positions, and the clergy still continued to act the principal roles, such as those of Christ and the Apostles. Little by little abuses crept in, and some plnys written by the laity were contrary to the dogmas of the Church, so that the pure faith of many listeners was shaken. Gorros relates that during a representation of the Mysteries at Eisenach, '"the five foolish vir gins asked their companions in vain for some oil. They were then shut out by the bride groom, and began weeping and begging the aid of the saints; but neither the saints nor the Virgin Mary were able to bring about the reprieve of their condemnation. The Land grave of Thnringia seeing this, was filled with doubts and rage, crying aloud, 'What does this Christian faith amount to if God cannot Le moved by the intercession of Mary and the saints?' And it was only, Bays tho grave chronicler, after five days of fierce struggle with his doubts that the Landgrave was brought to a true understanding of the Scrip tures through the efforts of the learned doc tors." So it took a day apiece to convince him about the virgins. Although the subjects of these religious dramas were always taken from Scripture, yet the chnructer8 and their language are often purely imaginative or allegorical. It happens frequently that the liveliest scenes and most interesting dialogues are wholly the invention of the author. The ZeiUchriftfur Deutsche AUirthum gives the following song, which I translate from the Old German. Mary Magdalene, who is still a siDner, comes upon tho stage with Luci fer and several other devils, who all praise her beauty in the highest terms. Mary is not in the least disconcerted by their praise, but is rather pleased with it, and sing to them in response: I will deck oat my form, I'm a womau so fair, And will dance just a tarn With a layman or iriar; For 1 love to be springing, Ana a jolly song Hinging. I spread my mantle In the Held, Ami my ludy begins to ask "Where I have been bo very long ? What business lg it of hem ? Shall I not make free Wit a my body, I'll see. Martha next appears and beseeches Mary to repent, but Mary sings gaily: Take care of thine own aoul, sister dear. I will 1ft tttee, with all my heart, Hut 1 will be happy and gay, And. therefore, 1 earnestly pray That thou wilt go thy heavenly way, And not beg me to repent any more, But leave me, for thou art becoming a bore. Shortly afterward the repentance of Mary Magdalene is brought about, and she is repre sented very much as Correggio and Battoni have given her to us on canvas. But none of these episodes occur in the passion play as it is now given at Ammergau. The present text is written strictly in ac cordance with the Bible. It was carefully revised about 1815 by a monk named Weiss. The music for the chorus and orchestra wa composed by Dedler, the village schoolmaster, and in many parts does credit to a true master of composition. The origin of the Ammergtu play is much more peculiar than most of the otherj, for in a pestilence resulting from the Thirty Years' War raged through the Tyrol even to the secluded village of Oberaramergau, where 80 persons died within a month. The pious and superstitious peasants then took a vow to represent the Passion of Christ every ten years, ff the plague should be removed, and after that day, according to tradition, no death occurred. The play was given accord ingly in' the following year, 1(534, for the first time, and was continued every tenth year until 1701, when the Prince Archbishop of Salzburg under whose jurisdiction Ammer gau fell forbade every sHch performance as Leing profane, ludicrous, distracting, in ducing intemperance on account of the large concourse of people, and exposing the Church to the ridicule of free thinkers. The measures taken by the secular authori ties to put this decree of suppression into effect were so vigorous that almost every rep resentation of. the kind was discontinued. That at Ammergau, owing probably to its pe culiar origin, was still given, notwithstanding all opposition. But, in 110, tha Abbey of Ettal, founded by Louis of JJavuria, and situ ated at the head of tho pass, becuie secular ized, and the peasants lost its eeclesiatic-tl support. The renewed effort of the Munich authoiities again very nearly ejected the en tiro supprosiou of the passion-play; but a deputation of the determined efiHiut. puilitl their way to the very throne of M ix Josepu, then reiguing in Bavaria, and obt jinnd froai him a special permission for its further cou tinmnte, and it is owing to this that the play is row givt-u with iuoxj iittempt at eUlor-t-tun i.lC i':fcctkii Ha- -'. ;Lvr. u-jU Europe. The theatre stands in a largo field, just outside the village, has no roof, and is put np and taken down for each decennial representation. The stage consists of a broad, open Rpace, eighty feet wide and twenty deep, which is in front of the drop curtain, and occupied by the chorus. Imme diately behind this Vorderhuhnt or front stage is another, with all the usual appoint ments of a theatre, having on either side a balcony, a street running back, and pillars at the extreme end. The auditorium is oblong, and furnished only with wooden benches, and will seat kk) to Gooo people. The Blope of the floor is considerable, so that every one sees the whole stage. There are three boxes at the back of the house, in the middle, capable of seating 2(H) people, and intended, as my peasant guide remarked, for "royalty, counts, Americans, and other high person ages." The corps of actors reaches the number of 400, all of whom reside in the village itself, so that every third person takes part in the play. The theatrical wardrobe is made more elegant for each decennial representation, and the additions this year, together with the scenery, etc., have cost over $10,000. The receipts in 18.V) amounted to that sum. In 1S!() the figure was still higher, and this season even a greater number of visitors is expected. The lowest priced scats are 25 cents, and the seats in the princely boxes ruin a man to the amount of 125. The same play is re peated every Sunday during the summer months. The parts are assigned to the actors in January, and the piece is rehearsed once a week until its first representation, which comes usually on the last Sunday in May. The chief roles are assigned with great care. The part of the Saviour is given to the man who best combines a talent for acting and suitable age with a personal resemblance to the accepted ideal of Christ's face. It was rendered in 1850 by JoReph Flnnger; in 18(H) by Schauer, and this year by Jo seph Meyer, carver in wood, and thirty-six years of age. I saw him this morning conversing in a very friendly manner with the Apostle Peter. The likeness of Meyer to the pictures of Christ is really very striking, and the resemblance ia heightened by the accessories of the play. The part of Mary, the mother of Jesus, has been given this year to the daughter of Plunger. The decennial recurrence of the play naturally prevents the same man from acting the same part more than twice, for otherwise twenty years would have elapsed between the first and last times, and he would have changed too much, for these honost peasants are un willing to make old men young by the kindly assistance of rouge and powder. The following is a description of the per formance by the same writer under date of May 23: It would bo impossible lor anv one to believe. without seeing it, that a body of peasants could render a drama with bo much taste, accuracy, and magnificence as the peasants of Obcraui mergau showed in giving the Passion Play. But I have seen, and seeing is believing. At u o ciock we were au saieiy ensconced In our seats. Over five thousand people were ore- pent, mostly peasants. Two or three hundred Germans of the better class, and a mere sprink ling of English, filled rp the boxes. There wag a gravity in every lace mat bespoke an earnest, pious frame of mind. There was that quiet manner of going to their scats so peculiarly fitted for the house of prayer rather than for the theatre. The report of a cannou announced 8 o'clock, and the whole house was hushed into silence before the echoes from the mountain sides had ceased. That multitude had come in a true spirit of devotion. the play is entitled "t11e gkkat offering op i'kopitiation i'pon (10l gotha; or, The HtiUiry of the Suferiims and Death of Jemm.'' According to the Four Evangelists, with edifying taoleuux from the Old Testament, and consists of a prologuo, and eighteen " Vor stellungen." Jlaeh V rstvllung is made up thus: The chorus of twenty come upon the prosce nium from either side, arrange themselves in a line and sing two or more verses descriptive of the tableau that follows. The siucers then divide in the centre, aud draw back a little, the curtain rises and discovers a tableau-vivant upon the stage proper the chorus leader sings auotner explanatory verse, which occupies usually two or three minutes, the curtain falls, the chorus comes forward again, sings two or three more verses, and leaves the stage. Tho regular action of the play is then given, con tinues about fifteen minutes, and ends the Vor stellitng. This same routine is followed In each subdi vision, aud tbe Old Testament tableau is alwavs typical of the action that follows. Sometimes there are two or three tableaux and the singing is varied by solos, duetts, and antiphous. The music was written by Kochus Dedler, a native of Ammergau, whe died in 1823. The subjects of the tableaux and the actions of which they are typical are as follows: I. Tableau Adam and Eve driven from the Gar den of Eden. Action Prologue spoken by the leader of the chorus. Christ enters Jerusalem amid the acclamations of the people, drives the buyers and sellers from the Temple, and returns to Bethany. II. Tableau The sons of Jacob determine to put their brother Joseph out of the way. Action The High Priests and Scribes take counsel how they may briug Jesus into their power. III. Tableau (a) Tobias takes leave of his parents (o) The bride bewails the loss of her bride groom. Action Christ auoiuted by Mary; Judas mur murs at thio. Christ bids farewell to lielhany. IV. Tableau King Ahasuerus puts away Vashtl and raises Esther. Action C'hrict goes with his disciples to Jeru salem. Weeps at the view of the sinful city, nud sends two disciples to prepare the Easter Lamb. Judas loruis the design of betiaying his Master. V. Tableau God gives manna to the people, and . grapes Irom Canaan. Action Christ celebrates the Paschal Meal, and iuutitutes the Lord's Supper. VI. Tableau Jaoob's suns sell their brother for twenty pieces of silver. Action -Judas tomes to tbe Sanhedrim and pro . mises to deliver his Master into the haudi of the Pharisees for thirty pieces vf silver, uud they determine up'ou tutj death of Christ. VII. Tableau (a) Adam is forced to eat broad earned in the sweat of his brow. Joab, unler pretenj-e of kissing Amusa, stabs biui through the bodv. Action Christ suffers the death-like agony ou the Mount of Olives; in betrayed by Judas, and tuken by the rubble. l'AKT SiiCOXD. Mil. Tableau yi-alnU the Prophet receives a Mow ou the check for fciioaklii:' tr:o tr.;ili to Kin-' Ahab. c'ort brlst Is brought before Aunas, and is fctruck iu the utc. IX. Tellifi't (a The unill.ss Viiioth U con- patiently the revillngs of his wife and rlcnds. A cfum Christ Is taken to Caiaphai, Is declared guilty, denied by Peter, ridiculed and mal treated by the soldiers. X. Tableau Cain feeling the pangs of conscience wanders restless asd homeless over the face of the earth. Action The Chief Priests confirm Christ's con demnation. Judas comes before them full of repentance, casts down tho silver pieces, and driven by despair determines to hang himself. XI. Tableau Daniel is accused before King Darius, and is thrown into the lions' den. Action Christ led before Pilate, is declared not guilty, and is takeu before Herod. XII. Tableau Samson is forced to amuse the Princes of the Philistines. Action Herod treats Christ with ridicule and contempt and sends him back to Pilate. XIII. Tableau (n) Joseph's coat covered with blood. (b) Discovery in the thicket of the ram. destined to be offered in the place of Isaac A ction Christ is taken again before Pilate, who demands of the people whether he shall re lease Christ or Barabbas, and suffers Christ to he scourged. XIV. Tableau (a") Joseph is presented to the people as their Governor. (b) The lots are cast which of the two rams shall be offered as a sacrifice for the sins of the people, and which shall be set free. Action Pilate shows Christ with the crown of thorns to the people, who demand that Ba rabbas shall be set free, and that Christ hall be crucified. Pilate yields to the people and condemns Christ to death. PART THIRD. XV. Tableau (a) Isaac goes np the mountain bear ing tho fagots lor bis own sacrifice (6) Moses raises the brazen serpent upon a pole. (c) The Israelites are healed from the bites of the serpent by looking at the brazen Berpeut. Action Christ is taken to Golgotha bearinsr his cross, and meets his sorrowing mother. Simon of Cyrene is forced to bear the cross. XVI. Pro logue Recitative. Action Christ raised upon the cross, the thleve9 on either side. Christ Is taken from the cross and laid in the tomb. XVII. Tableau (a) Jonah is thrown upon the land by the whale (6) The people df Israel pass through the Red Sea on dry land, aud their enemies perish In the waves. Action The Resurrection of Christ. The sol diers give information of it to the Chief Priests. An angel informing the women of the resurrection. XVIII. The ascension of Christ. The chorus singing Conquering and to conquer all Forth He comes In all His might, Slumbering but a few short hours, In the grave's funereal night. Hallelujah ! Christ is risen, etc., etc. Some of these analogies as, for Instance, the sixth, tenth, fifteenth, and sixteenth are well chosen and forcible, while others are rather far-fetched. The immobility of the figures in the tableaux was almost absolute. In the fifth and fourteenth there were over two hundred persons on tho 6tage, Including many young childien, some of whom stood with outstretched arms, aud held this tiresome position over three minutes. Their success in doing so probably arises from the fact that they are accustomed to work, bo that their muscles have become tough. The grouping was arranged by a native artist, from old drawings and pictures. The great unities were admirably brought out. The gracefulness of composition and of indi vidual pone was truly artistic, while the har mony of colors in the costumes displayed extra ordinary skill in arrangement. The imitation of the old masters was most patent. St. John was taken evidently from Albert Durer's picture in the Munich Gallery. St. Peter might well have 6at for the St. Pietro in Lagrime of Guido in the Pittl at Florence, and Mary was a good copy of Carlo Dolci, or better 3et of Sassbfer rato; but the half-diviae Madonua of Murillo In the Pitti, or Raphael's San Sisto, was not to be seen. The neutral and mixed tints of the Apos tles' rolies were peculiarly good, that is to say, good if we consider the pictures of tho early mabters as models and we certainly have no others. It has been said that all art moves in a circle, commencing with simplicity and ending there and this very simplicity is the most striking feature in the Ammergau drama. When the countryman went to see Garrick and was asked how he liked him he replied, "I don't call that acting; for he does ju6t as any common man would do." This utter absence of conventional ism Is the charm of the acting of these peasants. Their gestures were easy, their enunciation was distinct and unaffected. And even our Booth or the far-famed German Devrlent might study to advantage the walk of these amateurs, and learn to abandon the ungraceful stage-stride. The entrance into Jerusalem after the opening tableau was very impressive, because the humanity of Christ seemed so real. The living man seated on the ass, blessing the little chil dren, and seemingly conscious of his future suffering, banished all remembrance of the divinity of Christ and fastened the mind upon Jesus, the man of sorrows. There was not oue single word or action of the Christus that Jarred on the feelings. Throughout the drama His action was full ot calm dignity, of sweet resig nation, of meekness and tender love. His supe rior position was well brought out. No famili arity was used towards Him by the disciples. Peter and John were the only ones who ever came very cIobc ta Him. The last supper, the 6ctne in tbe garden of Gethemane, the trial and the scourging, considered purely from a critical standpoint, could not be surpassed. The acting was perfect. The character of Judas wa3 well represented. Its contrast to that of the Christ made it even more conspicuous. Judas was always uueasy and restless quick in his movements aud coa fcious. The scene was peculiarly good where the servant of the High Priest first proposed to him the betrayal of his master, lie wavered and then started to go away, frightened at the atrocity of the crime, but the further mention of money worked too strongly on his avarice and he yielded to the temptation. His eagerness to receive the money lrom the Couucil, his uneasi ness at the Last Suoper, Lis guilty, stealthy manner in the garden, and his final rejiorse, were all very finely rendered. Saints Peter and John were also very good. Another well-conceived and well-executed point in the play was the tone and manner of the Chief Priests and Scribes. During the trial they maintained a stilf official dignity, and were much concerned about the public fcfjod, but when they left the council hall they displayed all their selfish motives and underhanded designs. The old Greek conventionalism of having the multitude speak in concert was tho ouly real fault to be found in the piece, and this often married the effect seriously. U was very much out of place when the multitude euters Jerusa lem with Cliiij-t, and ttill more so when the people clamored for the death of. Christ aud the release of Barabbas. Variolic, unregulated cries would be the natural and most evident manner of expressing the agitation of a crowd, but in the Passion-play there is no deviation from this freuuently-recurrinir conventionalism at ouce so iiupot-faille, unnatural and unpleasant. ihe parts of the women were rather Iiisiulfl rant, and not so well given as ttiOfO of the meu. The farts t;f Caiapbas- Pilate, the two thieves, and Barabbus were all good. During the eight Ih uiboI this first repicsctutatiou not u bingie ini.-liap occurred, cither ou the staze or in ihe 8Uilieiie. Not an actor beMtalcd ouce for a woid. Not a premature entree or exit, not even a fal-e or iuai.propilate ucliirc, not a suiilo in the 1j! lean, uud iioi one. nioui.'iu'c ib-luy or cui- ,:.L .i: '.u .w.ii, ..J i uCt.04 J in Europe could gain the hlstrionlclvlctory that these peasants have gained. 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V M Ai.8 n.luily ya jiHTti GROCERIES, ETC CHOICEST FINE SOUCHONG, OR English Breakfast Tea, IN SMALL BOXES, FOR FAMILY TJSK. JAMES R. WEBB, S. E. Corner WALNUT aad EIGHTH, B 21 Btuth3mrp PHILADELPHIA. 'J'O FAMILIES GOING TO TUB COUNTRY. We oirer a full stock of the Fineat Oroceries to Select From, And at the LOWK8T CASFI FRICE3. Tacked se curely and delivered at any of the Depots. COUSTY'S East End Grocer, Io. 118 Mouth SECOND St., 1 17 thsto BELOW CHKSNDT STREET. fi U R I N G, P A C KING, SMOKING FKTA.MSHMKNT JOHN KOWKH 4 HO. CURftRS OF bUPKRIOR SUUAK.CIJUEO IIAJIB, BFEF, and TONGUF8, and don! In Provisions l!??&Kt- .W' corner TWENTY-FOURTH and BKOWN Streets. 6M2mthstu 'J'O FAMILIES RESIDING IN TUB RURAL DISTRICTS. We are prepared, as heretofore, to supply families at their country residences with every description ol FINE GR0CK1ES, TEAS, Etc. Etc ALBERT C. ROBERTS, 11 78 Corner ELEVENTH and VINE Street. ALPINE SAUCE PREPARED BY AN OLD caterer, pure, wholesome, appetizing: pronounced br good juriires the best table sance in the market. HEL 6KR A bkO.. No. HO . WHARVES, Pniladell Phi- 6281m LOMBER. iQ.7( BPRTJCB JOI8T. -io-A 10 I V BPKUCK JOIST. lOlll HEMLOCK. ' V HEMLOCK. 1 Q7rt SEASONED CLEAR BINS. - o A 10 I U SEASONED CLEAR PINE, lo70 CHOICE PATTERN PIN EL SPANISH CEDAR, FOR PATTERNSi KKX) CEDAR 1 Q7A FLORIDA FLOORING, 1 oA 10 I U FLORIDA FLOORING. Io70 CAROLINA FLOORING. VIRGINIA FLOORING. DELAWARE FLOORING. ASH FLOORING. WALNUT FLOORING. FLORIDA STEP BOARDS. RAIL PLANK. 1 ft7A WALNUT BOARDS AND PLANK.- OTA 10 4 U WALNUT BOARDS AND PlNlo70 WALNUT BOARDS. ' V WALNUT PLANK. 1Q7fl UNDERTAKERS' LUMBER. -4 O'TA J OlU UNDERTAKERS' LUMBER, lO70 RED CEDAR. ' V WALNUT AND PINE. SEASONED POPLAR. 1 OTA 10 1 V SEASONED CHERRY. lOll) ASH V WHITE OAK PLANK AND BOARDS. HICKORY. 1 ftTA CIGAR BOX MAKERS' 1 OTA lO I U CIGAR BOX MAKERS' lo7l) SPANISH CEDAR BOX BOARDS. FOR SALE LOW. 1 P. 71 1 CAROLINA SCANTLING IOTA 10 i V CAROLINA H. T. SILLS. lo7D NORWAY SCANTLING. 1 G7fi CEDAR SHINGLE -s OTA 10 IV CYPRESS SHINGLES. lOYU MAULE, BROTHER A CO., lit No, B&oe SOUTH Street PANEL PLANK, ALL THICKNESSES. Jl 1 COMMON PLANK. ALL THI0KNKfl8L 1 COMMON BOARDS. landSNIDK FENUK BOARDS. WHITE PINK FLOORING BOARDS. YP.LLOW AND SAP PINK ItLOORINOS. IMand 41-. SPRUCE JOIST, ALL bl.KH. wvala"a' H Kin LOOK JOIST, ALL 8IZK8. PLA STKK1NU LATH A SPECIALTY. Together with a general assortment of guiding Lonbet for sale low r T. W. 8MALTZ. 6 31 tiin No. 1716 RIDGE Avenue, north of PeplarSt. United States Builders' Mill, FIFTEENTH Street below Market ESLER & BROTHER, PROPRIETORS. 4 89 8m Wood Mouldings, Brackets and General Turning Work, Hard-rail UaluHterg and Newel Pouts. A LARGE ASSORTMENT ALWAYS ON HAND. BUILDING MATERIALS. R. R. THOMAS & CO., DKiLEBS IN Doors, Blinds, Sash, Shutters, WINDOW FRAMES, ETC., M. W. CORNER Of EIGHTEENTH and MARKET Streets 4 12 J PHILADELPHIA. CENT.'S FUHNISHINO QOODS. p AT ENT 8HOULDKK-8KAM SHIRT MANUFACTORY, AND GENTLEMEN'S FURNISHING STORE, PERFECTLY FITTING SHIRTS AND DHAWKta made from measurement at Ten Bhurt notice. All other articled of GENTLEMEN'S DRESS GOODS ia full variety. WINCHESTER A CO., 11 1 No. tu CHESNUT Street. MEDIOAL. AT o t) ir It 1L mo I A V! 1 FOX'S CRAMP AND DIAKRUCEA MIXTUKH! has ja-oved itoult to be the surest and speediest remedy for Crumps, Diarrbuea, Dysentery, Cholura Morbus, and farbt suite of Asiatic Cbolura. No family aftor bavins; once tried it will be without it. Ask ior tux's Oranp and liUrrbu-a Wulnf. iml take no other, hold at VAR. KALI. & CIO '8, Hl' l fcKNTli and MARKKT ftreetl and No M2 AKCJrlhlreoji. i sju jjrp DIVORCES. ABSOLUTE D1VORCK3 LEGALLY OB tained in New York, Indiana, Illinois, aad other Slates, tor persons from snj btate or Country, legl every, where; desertion, drunkenneea, non-support, etc, sum. cient cause: no publicity ; no charge until divorce ob tamed. Advice free, business established fifteen yeara Address, M. HOUhK, Attorney. 821 8m No. 78 NASSAU Street, New York Oil WATER PURIFIERS. FAUSON'S !w Ialt-ut lValer filler and I'lirlfier Will effectually cleanse from all IMPURITI KS, and re move all foul taste or smell from water passei through it. In operation and for sale at the MANUFACTORY, Na. JHlMX'K KliBtt.sn.l sold by House furnish in Store A
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