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PREVENT us, O Lord, in all our doings with Thy most gracious favour,

and further us with Thy continual help; that in all our works begun, continued, and ended in Thee, we may glorify Thy holy Name, and finally by Thy mercy obtain everlasting life; through Jesus Christ our Lord :—

-with the intention of asking God's blessing on the same, and that when this Collect is said before the Sermon and at the other Services, it shall be with the same intention—namely, that God would "prevent us "—i.e. go before us so as to aid us "in all our doings," and "further us "-i.e. advance us "with His continual help, that in all our works" for the Brethren, "begun, continued, and ended in Him, we may "glorify His holy Name, and finally by His mercy obtain "everlasting life," for others as well as for ourselves, "through Jesus Christ our Lord."

C. ANDERSON.

THE PASSION PLAY AT OBER-AMMERGAU.

AFTER the Beethoven Festival at Bonn, I made the best of my way to Munich, travelling through the whole of one night from Frankfort and arriving about nine or ten the next morning. Hearing that Wagner's "Tannhäuser" was to be performed that evening, I lost no time in procuring a place; and setting off a little before six (the hour of commencing), I had just time to settle down in my seat when the first notes of the overture were heard. I shall not easily forget the effect this fine music had upon me, nor the astonishment with which I found exquisite beauty where I had been taught to look for ugliness, and symmetry where deformity had been expected. I cannot help thinking that when we shall be fortunate enough to have an adequate representation of this great work in London, much of the misconception that now exists respecting the "music of the future" must disappear. Early the following morning the train started for Weilheim, the nearest railway point to Ober-Ammergau. The line runs through the most beautiful country, and charming glimpses are caught of the Bavarian Alps, with their snow-capped summits. For some distance also it passes along the side of a lake of considerable beauty, the shores of which are quite gay with innumerable villas belonging to the wealthier classes of Munich. Arrived at Weilheim, we (for I had picked up friends) rapidly selected the best of a motley collection of vehicles, and set out on the long but exceedingly picturesque drive into the very heart of the mountains now directly in front of us. Our journey first lay through a tract of country which, by its velvet-like turf and fine ornamental timber, was almost an exact counterpart of the private park of an English nobleman, though, oddly enough, here and there were patches which had been dug up and planted,

with vegetables or grain, quite in the middle of the beautiful stretches of turf, and without the faintest sign of either hedge or ditch to soften the apparent incongruity.

Soon after passing Murnau, the half-way town, the ascent of the mountains commenced, and so steep was the climb in some parts of the road, that both drivers and passengers had to alight, and large relays of horses had been provided to assist in dragging the vehicles up the pass, whilst the pedestrians were made aware then-if they had never known it beforewhat mountain climbing was.

It was evening before we perceived any indications that we were approaching our destination, though such indications soon became numerous enough. Vehicles of every conceivable description were now overtaken, slowly wending their way to the one point, their occupants being hardly less remarkable, in the matter of dress and general appearance, than the crazy-looking carts and waggons they were packed in. It was not long before we drove into Ober-Ammergau, and as we had not previously taken lodgings or even places for the play, our consternation was great upon finding considerable crowds of people blocking up every avenue. Signs of a coming storm made matters look all the worse. After trying to obtain lodgings at half the houses in the village with a discouraging want of success, we settled upon the desperate resolve of spending a night in the carriage that had brought us, when one of our party arrived with the welcome news that he had succeeded in engaging a room and getting places for the play. It was not a whit too soon, for we were scarcely housed when the storm burst with tremendous fury and raged far into the night.

As our tickets were not numbered it was necessary we should be up early in the morning for the purpose of getting good places. So, taking a day's provisions, we started about halfpast six, and eventually succeeded in securing capital seats.

The stage was now before us with its centre proscenium, two small wings with practicable doors and balcony, flanked by

two large openings representing streets in Jerusalem, and return sides. It has been so often described lately as to need no further description now. Equally has the theatre itself been the subject of various drawings in the illustrated journals.

After we had taken our seats, and the novelty of being in an open-air theatre had somewhat worn off, a feeling crept over me which I have no doubt had previously been experienced by many under the same circumstances. A representation was about to take place of the most tremendous events in the history of the world. Not only was our Lord to be personated, but He was to be represented in the most solemn acts-the institution of the Last Supper, the Agony in the Garden, the Death, Burial, Resurrection, and Ascension: all were to be done and by whom? By common farm-labourers, woodcutters, and the like. Every one has formed his own ideal of these great Scriptural events, and I, necessarily, like the rest. Was my ideal going to be elevated or lowered by this peasant representation? It seemed impossible to be the former, and if the latter, how terrible to have the depressing influence of such a memory on one's mind constantly, and to feel that one's highest spiritual impression has become permanently debased! These and other like reflections were interrupted by the entrance of the members of the orchestra, of whom the greater part seemed to play brass instruments of various kinds, the remainder of the band appearing to be made up of strings and two flutes. As the time for commencing drew near, the audience gradually became more silent, and showed plainly by their manner with what seriousness they looked forward to the coming performance. A few moments more and the musical conductor quietly took his seat, and in response to his sign the Overture commenced. A few quiet, solemn chords, reminding the musician strongly of the earlier symphonies of Haydn, were soon followed by an Allegro of a brighter character, yet still full of simple, quaint, and tender feeling-these characteristics clinging to the music throughout the entire Play. The Overture concluded, there was a moment's pause,

when from each of the side wings of the stage advanced a number of persons of the most picturesque appearance imaginable. Each is dressed in a long skirt which envelopes the whole figure, over this is a white tunic reaching to the knee, edged with lace, and over the whole is a mantle of a deep rich colour, falling in artistic folds across from the right shoulder where it is fastened. A small gold fillet encircling the head completes the costume. But if the dress of the chorus was remarkable, much more so was the singular beauty of feature and expression of rapt devotion that characterised the faces of these, and indeed of every person who took part in the Play. In short, the appearance of the members of the chorus, as they slowly walked in two lines from the opposite sides of the stage and met in the centre, was most impressive. Forming a semicircle, they solemnly faced the audience, and after a few introductory notes from the orchestra, the choir-leader-an exceedingly imposing looking man-extending his arm, commenced the Prologue in recitative. After some time the other members of the chorus, who had remained perfectly still, their hands reverently crossed on the breast, with a simple gesture full of dignity, broke in upon the recitative with a chorus in four-part harmony. The effect was perfectly thrilling. At the conclusion of the chorus, which was explanatory of the scenes to come, the singers divided and fell back on each side, the curtain drew up, and the first set scene was displayed, illustrating the expulsion of Adam and Eve from Paradise. During the exhibition of this scene a concerted movement was sung by the chorus, and when the curtain fell, the principal member of the chorus again proceeded to explain the connection between the Type and Antitype. After this, they slowly left the stage.

The moment had now arrived when the Christus was to appear, and a look of almost painful anxiety was on every countenance. The curtain drew up and disclosed an empty stage. Presently, shouts, proceeding apparently from a great distance, were heard, waxing louder as they seemed to come nearer, when

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