Art in the Mountains. The Story of the Passion Play
By . London : Sampson, Low, & Co.
DURING several months the magazines and papers have contained many notices and accounts of the “ Passionspiel” of the Bavarian peasants, and Mr. Blackburn states that a portion of his book has already appeared in the columns of “ The Graphic.” But we are, nevertheless, indebted to him for a very attractive book ; which, though it does not contain a great deal that is new in description, is very fully illustrated, and has, besides full-page portraits of the different actors, in the costumes of their parts, and a view of the theatre, charming sketches (we recognize with pleasure the hand of Mr. Darley in some of the sketches) of the mountains, village peasants in their native costume, and the inevitable donkey and goat of mountain regions.
We question whether, in all the articles that have appeared in English or American magazines, there have been any better descriptions of Oberammergau and its “ Passionspiel” than those written by Anna Howitt twenty years ago in her “ Art Student in Munich,” and the Baroness Tautphæus in her charming novel, “Quits,” in a chapter called “A Remnant of the Middle Ages,” where there is an admirable and vivid account of the performance of the Passion Play.
But we think that Mr. Blackburn’s book is the first one entirely devoted to the play. After a slight sketch of Miracle Plays in the Middle Ages, he gives a brief description of the origin of this last remaining relic of the old religious plays. The earliest Miracle Play we read of is that which Gregory Nazianza, an early father of the Church, is said to have constructed ; it was a drama on the Passion of Christ, and was intended to counteract the profanities of the heathen stage ; it is supposed to have been written about the year 364. Mr. Blackburn says of the early history of the Oberammergau play, that it is soon told. “ In the year 1633 the village of Oberammergau was desolated by pestilence, caused by the wars of Gustavus Adolphus, and the inhabitants resolved to represent once in ten years the Death and Passion of Christ. They made a vow, and the ‘ plague was stayed.' In the latter part of the last century such representations were common throughout Bavaria; but in 1779 they were all interdicted by the clergy, excepting only the one at Oberammergau, which, being under the superintendence of the neighboring monastery at Ettal, and having a special object, was still permitted to be held.”
“ Without,” continues Mr. Blackburn, “going further into the history of Miracle Plays, ― of which the one at Oberammergau is almost the only relic,—we would repeat that those of which we read in former times lacked the finish and conscientious care bestowed on this ; and the year 1870 is probably the culminating point of excellence at Oberammergau, for the reason that the performers still retain their simplicity of character, combined with an amount of artistic excellence never before achieved. In another ten years it will be otherwise ; the sons and daughters of these peasants are being educated in cities, and will bring back with them too much knowledge of the world. ” He says that now the acting is “ nearly always natural, nearly always right,” even the little children being charmingly natural, easy, and unaffected in their parts.
Mr. Blackburn speaks of the artistic excellence and high finish shown in all respects, and the general good taste exhibited in the form and color of the costumes, though he does mention the occasional appearance of glaring and inharmonious shades ; but it would be strange if among so many there were not a few unpleasing and inartistic effects. The theatre, chorus, costumes, acting, and music are wonderfully good ; and when we consider the difficulties under which these villagers carry on this “ Passionspiel,” and the good taste, skill, and esprit de corps shown by each and all, we feel that the mere performance of the play has elevated them much above ordinary mountain peasants. The agreeable and very satisfactory performance of the play is probably due to the artistic tastes and education of the villagers, who are in most cases devoted to wood-carving, — in which they excel, — as a means of livelihood.
Any one who has read descriptions of the Mysteries and Miracle Plays in England, in the Middle Ages, will thoroughly agree with the author in his opinion that “ the ‘ Passionspiel ’ at Oberammergau in 1870 is as different from the Miracle Play called the ‘ Harrowing of Hell,’ performed in England in the reign of Edward II., as the noblest tragedy from the commonest farce.” It would be strange, indeed, if the rolling years of more than two centuries, which have brought in their train such an increase in culture and civilization, and so advanced the arts, sciences, and manufactures, had not, even among these simple mountaineers, vastly improved the plan and performance of their Passion Play. It may be inferior, in many respects, to the highest drama of the nineteenth century, yet it is as infinitely superior to the early Miracle Plays as the whole lone of society at the present day is far in advance of the best culture of the sixteenth century.
Anna Howitt compares their theatre, in effect, to those of ancient times, and says of it : “These effects of sunshine and shadow, and of drapery fluttered by the wind, were very striking and beautiful ; one could imagine how the Greeks must have availed themselves of such striking eftects in their theatres open to the sky.”