Please give us the temperance planks in the platforms of the Indiana Democracy and Indiana Republicans, as adopted in their conventions of last summer.
A Prohibitionist.
Answer.—The Indiana Democracy met in convention last August: after wrestling with the few prohibition delegates for a brief moment, they adopted the following resolution:
“The Democratic party is now, as it has always been, opposed to all sumptuary legislation, and it is especially opposed to the proposed amendment to the constitution of Indiana known as the prohibitory amendment, and we are in favor of the submission of the proposed amendment, as well as other proposed amendments, to the people, according to the provisions of the constitution for its own amendment: and the people have the right to oppose or favor the adoption of any or all the amendments at all stages of their consideration, and any submission of constitutional amendment to a vote of the people should be at a time and under circumstances most favorable to a full vote, and therefore should be at a general election.” The Republicans, several days later, on Aug. 9, adopted this resolution: “The Republican party resolves that reposing trust in the people as the fountain of power, we demand that the pending amendments to the constitution shall be agreed to and submitted by the next Legislature to the voters of the State for their decision thereon. These amendments were not partisan in their origin, and are not so in character, and should not be made so in voting upon them. Recognising the fact that the people are divided in sentiment in regard to the propriety of their adoption or rejection, and cherishing the right of private judgment, we favor the submission of these amendments to a special election, so that there may be an intelligent decision thereon, uninfluenced by partisan issues.”
PASSION PLAYS.
Berlin, Wis.
What is the origin and history of the “Passion Play,” of which we hear so much lately?
F. Peck.
Answer.—This recent dramatical representation of the passion of Christ claims its origin and justification in sentiments akin to those which it is said inspired the old religious dramas, known as “Moralities,” or “Miracle Plays.” The first composition of this nature is ascribed to Ezekiel, a Jew, who, in the third century, adapted the story of Israel’s exodus from Egypt to the Grecian stage. His object was to arouse the patriotism of his exiled and despondent countrymen and excite in them a hope for the re-establishment of their kingdom in Palestine. In the fourth century, St. Gregory Nazianzen, the Bishop of Constantinople, having noticed the effect of the Grecian drama upon the people, concluded that the readiest method of extending the church of Christ was the dramatic presentation of the sufferings of its author, which he accomplished in the drama entitled “The Passion of Christ.” When the barbarians made their inroads into Southern Europe, and the church began to extend its influence northward into the lands of the Germans, Normans, and Saxons, it found great difficulty in coping with the fascination which the heathen festivals and performances exercised over the uneducated minds of the people. In order to obviate this trouble, miracle plays were introduced. Adapting the drama to the surrounding circumstances, many of the heathen characters, slightly changed, were retained. The play was supplied with humor by the artful caprices of the impersonated devil. In one representation “Judas, assisted by the devil, who sits upon the scaffold, hangs himself. When the hanging is complete both slide down to hell on a slanting rope.” Soon after the Reformation the miracle plays began to decline, and now they are performed in only a few places, mostly in Southern Bavaria and the Tyrol. The passion play of Oberammergau is famed the world over, and attracts an immense concourse of visitors from all lands whenever it is presented. In 1633 the flax in that neighborhood became diseased and unfit for the spindle. To prevent the recurrence of any such calamity the Oberammergau peasants made a vow to God that every ten years they would present the sufferings of Christ upon the stage in this way. This vow was kept until the beginning of the present century, when the further performance of the play was prohibited. Thereupon the peasants appealed to King Maximilian, who granted them permission to continue their celebrations, providing certain objectionable features were removed. This was agreed to, and in 1811 the drama, written by Pastor Weise, was first presented devoid of the devil and comic personages. The gospel story commences with Christ’s triumphal entry into Jerusalem, and closes with a scene previous to the ascension. In a practical manner, the plot is developed. The money changers are driven from the temple in anger. Judas smarts under the rebuke which he received at the home of Lazarus. They meet and plan the betrayal resulting in the crucifixion. The part of Christ is impersonated by a peasant. The ignorant inhabitants still regard these plays as the most impressive and effective method of teaching the gospel and various moralities. The claim that the passion play now occupying so much of the public attention was inspired by religious motives is rejected by the public generally, and is ridiculed by the press. There is an all but unanimous feeling of opposition in England and in this country to having the passion of the Savior, the solemn tragedy of Calvary, mimicked on the stage by ordinary stage performers. This feeling led the late Mayor Grace, of New York City, to refuse to license the presentation of the play in that city, and his successor, Mayor Edson, has taken the same stand. Salmi Morse, the manager, threatens to test the legality of this interdiction. Such is the attitude of this matter at present.