THE 4 'MYSTERY" OF THE "PASSION." 
375 
recent play has borrowed whole sentences from this, and has many- 
more English words and idioms. At the close of each of these 
plays there is an epilogue calling on the pipers to strike up that 
they may dance, and asking the people to come the next day to 
see the representation of "The Passion." This and the " Resur- 
rection " are the two mysteries founded on the New Testament, 
and are arranged to be represented on the two days succeeding that 
on which one of the Old Testament mysteries was represented. 
They are of the same date as the " Origin." In the Ammergau 
play the Old Testament supplies a number of characters and events 
represented in tableaux vivants, typical of circumstances in the life 
of Christ, which are introduced at the opening of each scene, and 
are explained in recitativo by the chorus. The chorus and tableaux 
vivants have no place in the Cornish mysteries. 6 
In the Ammergau mystery the Bible narrative is strictly adhered 
to, no traditionary stories are admitted, and even in the tableaux 
vivants the only reference to the Apocrypha is to Tobit and his 
dog. In the Cornish mysteries much of legendary story is intro- 
duced, for the most part taken from the Apocryphal gospel of 
Kicodemus, from which also the names of the two crucified thieves, 
Dysmas and Jesmas, are taken. 
The Cornish mystery of "The Passion" opens abruptly with a 
long address of Christ to his disciples. According to the stage 
direction, he stands on mount Quarentana, near Jordan, and looks 
between Jericho and Jerusalem ; after this comes the temptation ; 
then the triumphal entry into Jerusalem, and the expulsion of the 
traders from the temple, which, as in the Ammergau play, is a 
good deal emphasized, as on this much of what follows is made to 
depend. Then comes the anointing of Christ's feet, and the 
treachery of Judas ; then the last supper — this in the Ammergau 
play is represented as an ordinary meal, all sitting ; — then comes 
the apprehension of Christ, the denial by Peter, the condemnation, 
the repentance of Judas and his death. In the Cornish play he 
hangs himself ( suspendit se J be! ore the audience ; in the Ammer- 
gau, the curtain drops before the final catastrophe. 
In the Ammergau play human passions take the place of evil 
spirits; in the Cornish, Satan and other devils appear on the 
stage, and strut about. One stage direction says, pomlabit lucifer 
6 Yet when Adam is buried, and when Noah offers sacrifice, there is a stage 
direction for " som good church songes to be songe." 
