A Curious Observation Is Made By All Foreigners, Of The Absence Of The Apostles From The Drama.

They appear from time to time, but merely as supernumeraries.

One would think that the character of Judas was especially fitted for dramatic use. I spoke of this to a friend, and he said that formerly the false apostle was introduced in the play, but that the sight of him so fired the Spanish heart that not only his life, but the success of the piece was endangered. This reminds one of Mr. A. Ward's account of a high-handed outrage at "Utiky," where a young gentleman of good family stove in the wax head of "Jewdas Iscarrit," characterizing him at the same time as a "pew-serlanimous cuss."

"To see these Mysteries in their glory," continued my friend, "you should go into the small towns in the provinces, uncontaminated with railroads or unbelief. There they last several days The stage is the town, the Temple scene takes place in the church, the Judgment at the city hall, and the procession of the Via Crucis moves through all the principal streets. The leading roles are no joke, - carrying fifty kilos of wood over the mud and cobble-stones for half a day. The Judas or Gestas must be paid double for the kicks and cuffs he gets from tender-hearted spectators, - the curses he accepts willingly as a tribute to his dramatic ability. His proudest boast in the evening is Querian matarme, - 'They wanted to kill me!' I once saw the hero of the drama stop before a wine-shop, sweating like rain, and positively swear by the life of the Devil, he would not carry his gallows a step farther unless he had a drink. They brought him a bottle of Valdepenas, and he drained it before resuming his way to Golgotha. Some of us laughed thoughtlessly, and narrowly escaped the knives of the orthodox ruffians who followed the procession."

The most striking fact in this species of exhibition is the evident and unquestioning faith of the audience. To all foreigners the show is at first shocking and then tedious; to the good people of Madrid it is a sermon, full of absolute truth and vivid reality. The class of persons who attend these spectacles is very different from that which you find at the Royal Theatre or the Comic Opera. They are sober, serious bourgeois, who mind their shops and go to mass regularly, and who come to the theatre only in Lent, when the gay world stays away. They would not dream of such an indiscretion as reading the Bible. Their doctrinal education consists of their catechism, the sermons of the curas, and the traditions of the Church. The miracle of St. Veronica, who, wiping the brow of the Saviour in the Street of Bitterness, finds his portrait on her handkerchief, is to them as real and reverend as if it were related by the evangelist. The spirit of inquiry which has broken so many idols, and opened such new vistas of thought for the minds of all the world, is as yet a stranger to Spain.

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