In Little Russia the “star” is made of pasteboard and has a transparent centre with a picture of Christ through which the light of a candle shines. One boy carries the star and another twirls the points.[{54}] In Roumania it is made of wood and adorned with frills and little bells. A representation of the “manger,” illuminated from behind, forms the centre, and the star also shows pictures of Adam and Eve and angels.[{55}]
[153]A curious traditional drama, in which pagan elements seem to have mingled with the Herod story, is still performed by the Roumanians during the Christmas festival. It is called in Wallachia “Vicleim” (from Bethlehem), in Moldavia and Transylvania “Irozi” (plural from Irod = Herod). At least ten persons figure in it: “Emperor” Herod, an old grumbling monarch who speaks in harsh tones to his followers; an officer and two soldiers in Roman attire; the three Magi, in Oriental garb, a child, and “two comical figures—the paiaţa (the clown) and the moşul, or old man, the former in harlequin accoutrement, the latter with a mask on his face, a long beard, a hunch on his back, and dressed in a sheepskin with the wool on the outside. The plot of the play is quite simple. The officer brings the news that three strange men have been caught, going to Bethlehem to adore the new-born Messiah; Herod orders them to be shown in: they enter singing in a choir. Long dialogues ensue between them and Herod, who at last orders them to be taken to prison. But then they address the Heavenly Father, and shout imprecations on Herod, invoking celestial punishment on him, at which unaccountable noises are heard, seeming to announce the fulfilment of the curse. Herod falters, begs the Wise Men's forgiveness, putting off his anger till more opportune times. The Wise Men retire.... Then a child is introduced, who goes on his knees before Herod, with his hands on his breast, asking pity. He gives clever answers to various questions and foretells the Christ's future career, at which Herod stabs him. The whole troupe now strikes up a tune of reproach to Herod, who falls on his knees in deep repentance.” The play is sometimes performed by puppets instead of living actors.[{56}]
Christmas plays performed by puppets are found in other countries too. In Poland “during the week between Christmas and New Year is shown the Jaselki or manger, a travelling series of scenes from the life of Christ or even of modern peasants, a small travelling puppet-theatre, gorgeous with tinsel and candles, and something like our ‘Punch and Judy’ show. The market-place of Cracow, especially at night, is a very pretty spectacle, its sidewalks all lined with these glittering Jaselki.”[{57}] In Madrid [154]at the Epiphany a puppet-play was common, in which the events of the Nativity and the Infancy were mimed by wooden figures,[{58}] and in Provence, in the mid-nineteenth century, the Christmas scenes were represented in the same way.[{59}]
Last may be mentioned a curious Mexican mixture of religion and amusement, a sort of drama called the “Posadas,” described by Madame Calderon de la Barca in her “Life in Mexico” (1843).[{60}] The custom was based upon the wanderings of the Virgin and St. Joseph in Bethlehem in search of repose. For eight days these wanderings of the holy pair to the different posadas were represented. On Christmas Eve, says the narrator, “a lighted candle was put into the hand of each lady [this was at a sort of party], and a procession was formed, two by two, which marched all through the house ... the whole party singing the Litanies.... A group of little children, dressed as angels, joined the procession.... At last the procession drew up before a door, and a shower of fireworks was sent flying over our heads, I suppose to represent the descent of the angels; for a group of ladies appeared, dressed to represent the shepherds.... Then voices, supposed to be those of Mary and Joseph, struck up a hymn, in which they begged for admittance, saying that the night was cold and dark, that the wind blew hard, and that they prayed for a night's shelter. A chorus of voices from within refused admittance. Again those without entreated shelter, and at length declared that she at the door, who thus wandered in the night, and had not where to lay her head, was the Queen of Heaven! At this name the doors were thrown wide open, and the Holy Family entered singing. The scene within was very pretty: a nacimiento.... One of the angels held a waxen baby in her arms.... A padre took the baby from the angel and placed it in the cradle, and the posada was completed. We then returned to the drawing-room—angels, shepherds, and all, and danced till supper-time.”[{60}] Here the religious drama has sunk to little more than a “Society” game.
THE ADORATION OF THE MAGI. MASACCIO
(Berlin: Kaiser Friedrich Museum)