The threats have the desired effect on the thieves, who in fear return the goods, with no accompanying words provided by the playwright.
When Barbarus finds his treasures again, in a series of three macaronic stanzas, Latin and French, he expresses his joy and surprise, ending with praise for the guardian:
“Quam bona custodia
jo en ai;
qua redduntur omnia!
De si grant mervegle en ai.”
(What a good watch I have had! it returns everything. I am quite surprised.)
The alternating lines in French form a refrain in which, as in the other songs, the other choir boys have a chance to join.
Then Barbarus approaches the image and in three like stanzas, Latin and French, expresses his gratitude.
At this point St. Nicholas in person makes his appearance. He disclaims any credit to himself, and bids Barbarus praise God alone, through Whom his things have been restored.
Barbarus in reply renounces heathen faith and praises God, the maker of heaven and earth and sea, Who has forgiven his sin.
The printed text of the little play is simple enough, but the easy swing of the series of Latin songs and the French refrains offering opportunity for choral participation, the beating of the image, and the impromptu comedy “business” which choir boys might be counted on to supply, would provide as much entertainment at a church festival to-day as they doubtless did in the St. Nicholas’ eve celebration of the twelfth century.
In a single manuscript there are preserved four St. Nicholas plays of a century later. The stories presented in these plays are the four mentioned above. The play of the abducted son of Getro may here represent the series.