Branksome Hall - Slogan Yearbook (Toronto, Ontario Canada)

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8 THE BEAISTKSOME SLOGAN. cake and coffee, we made ' Our way through the rain to the palace. We were well repaid, for, without doubt, this proved the most gorgeous one we had yeit iseen, each room seeming to outdo the others in its beauty. I remember chiefly three chandeliers, an immense one of cut glass, one of Dresden china and another of exquisitely carved ivory. But Ludwig was not satisfied with the interior gorgeousness of his palace, for in the garden, which is beautifully laid out with fountains and statues, is found the entrance to a grotto. Although it is arti- ficial, a strange sensation creeps over one on entering this uncanny cave, with its stalactites dripping from above, the roar of water which falls from a great height at one end, and bluish lights casting a weird glow over all. Coming out again into the light, we found our way to the Kiosk, which, although very small, resembles somewhat the Sans Chapelle in Paris in interior decoration. By this time we were drenched to the skin, and, finding our carriage ready to start, were indeed glad to know that an hour ' s drive would bring us to Oberammergau. Like all the people of the village, we found Mr. and Mrs. Oskar Zwink, at whose house we stayed, most hospitable and kind. After a hearty dinner, we retired early to ' prepare ourselves for the following day, which was to demand strength of body and mind. Oberammergau is the upper of two villages on the banks of the Ammer river in Bavaria. It is in the heart of the Tyrol mountains, whose towering peaks and verdant valleys seem to claim the sole right to the setting of a play so heart-rending and yet so peaceful in its message to mankind. During mediaeval times religious subjects were represented by Miracle, Mystery, and Passion Plays. The last named is the only one in existence now, existing, it would seem, because of the sincere piety of these earnest folk, who look upon its portrayal as a part of their religious responsibility. As far back as the thir- teenth century parts of Christ ' s life were represented, but it is an established fact that since 1750 the full drama of His life has been portrayed. A plague which had been raging through Bavaria about that time robbed Oberammergau of one hundred and fifty of its inhabitants, and the survivors made a vow that if those remaining should be saved they would, in commemoration of this blessing, por- tray every ten years the full drama of Christ ' s life, for the uplifting of mankind. Their plea was granted, it would seem, and consequently every ten years thousands from all corners of the earth find their way to this remote village, to witness this sacred play. At a quarter to eight, on August 17th, four thousand two hundred people were seated within the enclosure which now protects the patrons

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THE BEANKSOME SLOGAN. 7 CONTRIBUTED ARTICLES THE PASSION PLAY AT OBERAMMERGAU BY HETTY m ' GAW. It was my great privilege during the past summer to travel abroad with two friends, who, I know, will agree with me when I say we were specially fortunate in having made the trip this year, thus giving our- selves the glorious opportunity of seeing the Passion Play at Ober- ammergau. Much has been said, from a critical standpoint, as to the ■object of such a play, but surely everyone who ha;s seen it is convinced that there is naught but reverence in every word and action of these simple village folk as they unfold so realistically the wonderful story of Christ ' s life and passion. On August the 14th, we arrived at Fiissen, a small Bavarian village, from where we planned to drive, by private coach, to Oberammergau. However, we found enough of interest even in this modest village to spend a day there, and the following afternoon visited two beautiful ■castles built by Ludwig II. One of these, Neuschwaustein, is ideally situated on a rock overlooking the village, and contains some beautiful frescoes of scenes from Wagner ' s operas. Although Ludwig was an eccentric king, he proved a true friend of Wagner ' s, and was also an enthusiastic patron of the Passion Play. Through his madness, which seemed to take the form of extreme ideas of gorgeous luxuriousness, travellers are left three of the most beautiful palaces to be seen any- where. Early the next morning we started on our long drive through the mountains, and, although the sky was threatening, the rain kept off until late in the afternoon. To me this was one of the most interest- ing and novel parts of our whole trip, as we drove over the windin f road, sometimes walking up the steeper hills, while on all sides ros majestic mountains, with here and there an opal lake, reflecting tne dark clouds above. The roads in some places are very narrow, and we had several thrilling experiences. However, as our horses were sturdy and sure-footed beasts and their driver kind and gentle, we arrived safely at Linderhof, where there is another of Ludwig ' s palaces. We had barely reached cover when the storm, which had been following -us through the mountains, broke, and for an hour or more poured itself out in hail and rain. After refreshing ourselves with German

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THE BRANKSOME SLOGAN. 9 of the play. The stage is almost entirely in the open, and until recently, I believe, even the audience were unprotected from all con- ditions of weather. Needless to say, the performers have to undergo many hardships, but to close in the stage in any way would detract greatly from the whole effect, as the surrounding mountains and valleys and blue ' sky form the chief parts of tlie scenery. In the centre of the main stage is a second stage with a curtain, upon which are splendid paintings of Moses, Jeremiah and Isaiah. On the pediment above is a fresco representing Christ comforting the poor and neefly ones gathered about Him. At either side of this stage are repre- sented two streets of Jerusalem, Pilate ' s house standing on the left, and that of Annas, the High Priest, on the right. AVhen, at precisely eight o ' clock, the first strains of the beautiful overture were heard, there was a tense silence througliout the vast auditorium, the people leaning forward with eager faces. The music was written by the schoolmaster of the village, and is in perfect keep- ing with the solemn and sacred scenes of the play. At the conclusion of the overture a chorus of about thirt} men and women take their places upon the stage. They are simply dresised in long white tunics, over which are draped mantles of various shades. Before and after each of the twenty-four tableaux and eighteen acts this chorus appears to explain by song and prologue the following scene. The tableaux form a great part of the play, representing, as they do, scenes from the Old Testament prophetic of events in the life of Christ. The control of body and mind which was displayed by the men and women, and even the little children, was simply marvellous, it being impossible to note the slightest tremor of a muscle. The first one represents the expulsion of Adam and Eve from the Garden of Eden, and the second the Ador-ation of the Cross. The first act follows these, the opening of which is the entry into Jerusalem. This is the most beautiful scene of the play, as the huge throng of men, w omen and children are clad in various shades of costumes, waving palms, and singing loud hosannas. In the midst of this dense throng Christ is seen entering the city on an ass. Dismounting, He enters the Temple, and with stern reproof drives the money changers from their sinful occupations, thus bringing upon Himself the hateful revenge of these lustful men who have been so unexpectedly dispersed. The part of Christ is taken by Anton Lang, who is capable in every way of filling such a sacred task with dignity and deep reverence. No doubt the heaviest part in the play is that of Judas Iscariot, and as portrayed by Johann Zwink could not be improved upon, dramatically or otlierwise. In the scene where he realizes his cowardly betrayal of