196 Charles Davidson — English Mystery Plays. 



The preachei' again explains. At a sign the devil speaks in hvimble tone, trying- to per- 

 suade Christ to resign the world to him and save himself from death. Christ turns 

 from him— "Thou wilt never see me rest until I have driven thee out." The devil 

 speaks louder and more threateningly, promising him the lordship of the world. The 

 lance thrust of Longinusi follows, his healing and gratitude. Jesus again speaks, com- 

 mending His spirit to God, at which the devil throws himself upon the ground. 



Again the preacher speaks to the people. Mary and John address the people, 

 bewailing Christ's death. Joseph and Nicodemus enter, and take Christ from the cross. 

 They ask of Mary permission to bury Him. She grants it, but Avill first embrace Him. 

 This is a touching scene. Joseph stands at Christ's head, Mary Magdalene at His feet. 

 Mary kisses the limbs of Christ, His eyes, cheeks, mouth, sides, and feet, while she 

 speaks touching words to the others or they to her. She shows John the lacerated 

 hands. " These are the holy hands wherewith He blessed all," says John. The angel 

 Gabriel appears to comfort Marj' and advise her to permit the burial. Mary grants it 

 with much lamentation. Joseph and Nicodemus carry Christ to the grave, while Mary, 

 John, and Mary Magdalene go down the women's aisle. Marj' turns and shows the peo- 

 ple the nails of the cross which she carries. Marj- Magdalene exhorts them to resist 

 the devil as Jesus had done. Here they enter Jerusalem and the plaj' closes. 



XII. 

 THE STAGE AND THE PLAY IN GERMANY. 



The following play is of the thirteenth century." It shows an 

 intermixture of Latin and German, similar to that observed in the 

 Ludus de Nocte Pasche.^ A comparison of the German and Ital- 

 ian plays will serve to show how widely accepted were the same 

 literary conventions among the writers of mysteries. The fixed 

 stations, the continual presence of the actors, their supposed absence 

 when sitting, the avoidance of any complexity of action, such as 

 the advancement of plot through bye- play ; all are common charac- 

 teristics. In development the German play is evidently the older, 

 since it is still largely in Latin. It also lacks many of the dramatic 

 features of the Italian, adhering closely to the Biblical narrative 

 where the Italian artist strikes out a path of his own. 



The following abstract was made from Hoffmann's edition of the 

 play : 



Pilate and wife with soldiers take their places, then Herod with his soldiei's, then the 

 priests, the merchant and his wife, lastly Mary Magdalene. Afterwards, the 'dominica 

 persona' -I goes alone to the shore to call Peter and Andrew, and finds them fishing. 

 The Lord says to them, " Follow me ; 1 will make you fishers of men." Thej^ reply, 

 " Lord, what thou wishest, we will do." Then the Lord goes to Zaccheus, and a blind 

 man meets him,— "Domine lesu, fill David, miserere mei." Jesus heals him. He then 

 bids Zaccheus descend from the tree, as he would tarry at his house.s Jesus passes on. 



1 Longinus, the centurion, stood by the cross. The Gospel of Nicodemus. [II.] 

 Longinus, the soldier, pierced Christ's side.— The Gospel of Nicodemus. fl.l 



2 Hoffmann, vol. 2, p. 24.5. 3 See p. 149 ; also Hoffmann, vol. 2, p. 272. 



4 Cf. ' Figura ' for the Almighty in 'Adam.' s He does not visit Zaccheus, however. 



