The Mystery Play at Engelberg
The monasteries in those days were the nurseries of the arts and
sciences. The German stage also owes its origin to them. The so-called
“mystery plays” originated in church ceremonials representing the
Passion of Christ, and were intended to familiarize the people with the
events narrated by the Evangelists. They were given in a semi-musical
way by various ecclesiastics. One spoke the narrative parts, another the
words of the Saviour, a third all the words of the remaining personages,
and the chorus recited those of the people and priests. These plays were
performed at the monastery of Engelberg, where young Arnold was
studying, with all the scenic display possible at that time.
As the Easter festival drew nigh the men of the valley came with hammers
and hatchets and built a large stage upon an open place near the
monastery, where the life of the Saviour from His birth to His
resurrection was to be represented before a vast concourse of spectators
assembled from far and near. The stage was open on all sides, for they
knew nothing about wings or curtains in those days. The play lasted an
entire day. The players were monks and students; but as their number was
too small because bystanders and crowds of people were necessary to the
performance, intelligent outsiders were called in to help. Upon this
account German was generally used in place of the earlier Latin text.
When everything was in readiness the performers entered and occupied a
large semicircle of seats, after which the customary blessing was
invoked. The man chorus pronounced the “Veni sancte Spiritus,” after
which two students sang the “Emitte Spiritum.” They were dressed to
represent angels, with wings on their shoulders; and in this guise the
little Arnold, the great war hero of after days, took part in the sacred
performance.
The angels as well as Christ and his apostles wore the mediæval costumes
of that time. The risen Christ was clad in the official garments of a
bishop—the dalmatic and the red chasuble. He also wore a crown and
carried a cross and banner. This costume was intended to express the
perpetuity of His episcopal authority as supreme head of the church.
Next appeared Saint Augustine as herald or narrator. He called the
assemblage to order, pointed out the persons sitting around, explaining
who each one was, and introduced the play with a pious address. In the
course of his remarks he interested the audience with digressions from
the story and explanations of the significance of individual events.
Whenever a player was to appear in a scene he rose from his seat, but
returned to it as soon as he had finished. For instance, Jesus went to
John to be baptized and then took His seat again. Nearly all the events
of the life and passion of the Saviour were represented in this way, and
each important scene was followed by the chorus, in Latin. King Herod’s
followers were in his immediate vicinity and behind them stood the
servants who led John the Baptist to prison. At first the apostles were
distributed about the stage, and the Master was obliged to go from one
to the other and gather them together when He ordered them to follow
Him. The Jewish people and their priests occupied a place set apart for
them; and whenever Jesus wished to communicate with them, or to instruct
them how to heal the blind, the dumb, the lepers, and the cripples, He
had to go to them. Upon the awakening of Lazarus, at Jesus’s entrance
into Jerusalem, and in some other scenes the people flocked to Him.
All the women mentioned in the sacred story were represented by monks
and students. Various services were required of the angels. They had to
demand order with the words “Silentium habete,” to perform many
interpolated sacred songs, and to sing certain strophes explaining
scenes that had not been described by the narrator, but which were
arranged for music. It was also part of their duty to make changes
necessitated by the stage conditions, and to explain the situation
clearly. The palsied man was in bed, and when Jesus bade him arise he
took his bed with him. The severed head of John was brought upon the
stage. The foot-washing was literally represented. When the Saviour
entered Jerusalem, both the ass upon which He rode and the palm-branches
which the people strewed along the way, were provided. Everything
connected with the death of Jesus, from the purple mantle and crown of
thorns to the lance and the sponge, was used. The crowing of the cock,
when Peter denied his Master, was imitated, as well as the thunder and
the rising of the dead. A table covered with food and drink served for
Herod’s banquet, before which the boy who represented Herodias danced;
it served also for the supper at Simon’s, when the repentant Magdalen
came to the Saviour, and for the Last Supper. The tombs of Lazarus and
Christ, John’s prison, and the house of Martha and Lazarus were
represented, as well as the pinnacle of the temple to which Satan led
our Lord, and the Mount of Olives, set with exotic plants.
While the Chorus sang, living pictures were exhibited. They represented
old Biblical events relating to the preceding scenes, so as to show the
close connection of Old and New Testament occurrences. Sometimes events
were artistically interwoven: While Jesus prayed on the Mount of Olives,
Judas was making his treacherous bargain with the priests; and while
Pontius Pilate was conducting the trial of Jesus, in another scene Peter
was denying the Lord.
[Illustration: _Monument commemorating the Battle of Sempach_]
To relieve the serious treatment of the subject, pleasant interludes
were devised for the entertainment of the audience, showing various
contrasts of life, so that smiles might follow tears. Satan appeared
clad in a wolf-skin, with mighty horns and long tail, and must have
presented a ludicrous sight. A merry fellow announced the arrival of the
three wise men sent by Herod, and made fun of the timid sovereign who
was afraid of a Child. Then he entered again with the derisive
announcement that the three wise men would not go back, and a third time
to say that the Holy Child would be represented in the temple. Every
time he came in Herod would get enraged and threaten to hang him for
making fun of a king. Another curious scene was that in which Peter
smote off Malchus’s ear after the seizure of Christ. Malchus wofully
exclaims: “Alas! what an outrage; what a shame! I have lost my ear. They
will call me a fool.”
Thereupon Christ said to Peter: “Put up your sword, or you will not be
safe, for those who seek revenge with the sword will perish by it.” Then
He turned to the Jews and said: “Bring the man to me. I will replace his
ear.”
After Malchus’s ear was put on, he said to one of his friends: “Tell me
truly about my ear. See if it is on securely, for it aches very badly.”
After examining it carefully, the friend assured him it was all right.
Then Malchus expressed his gratitude to the Lord, after remarking:
“Jesus is a very good man; He knows how to put on ears.”
Before the three Marys went to the sepulchre a man entered, dressed in
the ordinary costume of the time, who was a familiar figure at fairs and
markets. This was the travelling quack. With the words, “God greet you,
gentlemen all, as the fox said when he peeped into the goose-pen,” he
introduced himself, and stated that he was in need of a helper. Rubin,
the merry fellow, applied for the situation, and after considerable
haggling they agreed upon a price. Rubin then opened out the quack’s
stock, helped to prepare the medicines, and explained their virtues to
the crowd. At last he decided he would also have helpers. A second
buffoon, called Purterbalk, and a third named Listerbalk, who was
hunchbacked, applied; and while they were squabbling together a strophe
of the three Marys’ song was heard, as they were on their way to the
sepulchre. The three wags advanced to the front of the stage and began
selling the medicines, and when the quack thought they were selling them
too cheap, Rubin sharply reprimanded him. While the three Marys were
still on their way the quack lay down and went to sleep; whereupon Rubin
made off with his entire stock. His awakening and wrathful imprecations
ended the humorous interlude. The three Marys were seen at the sepulchre
and the angel announced to them the resurrection of the Lord.
The effect of this drama was so overpowering that reverence for the
sacred associations was not affected in the least by these merry
interludes, which were peculiarly adapted to the childish sentiment of
the people. The denouement of the play represented the arrival of the
Saviour in Heaven with a number of the elect, and God the Father,
sitting in His majesty, welcoming them.