ist of passions and struggles
in human existence, rather form the basis of opera than the proper
subjects for oratorio, and the modern attempts to transform the sacred
ideal into the region of operatic and dramatic realism seem to fall
singularly short of expectation. To our minds, the strongest period in
the history of oratorio was the time of Handel and Bach, and writers of
to-day have yet to graft on to their work the more careful study, and
the strengthening influence of these noble masterpieces in stronger
cuttings, to make the struggling young plant a healthy and beautiful
tree. Let us progress, by all means, but true progression is but the
joining of all that is good in the preceding age with all the fresh
beauty God bestows upon us in this our day.

We seem to be comparing or contrasting the secular form opera and the
sacred oratorio, and it is interesting to know that the origin of both
may be traced back to the same source--viz., early miracle plays and
moralities. For some time after the introduction of Christianity into
Eastern Europe, the new converts seem to have retained their fondness
for the heathen practice used in religious, as in secular, celebrations
of theatrical representations, which were chiefly upon mythological
subjects, and all of which angered and distressed the priests of the new
religion. However, the latter soon found out that it was necessary to
reach the minds of these people through their more acutely trained
senses and the medium of their old traditions, and thus in these early
ages the dramatic element worked its way into the church worship.
Spiritual plays were arranged by the priests in all parts of
Christianised Europe, who chose scenes and stories from both Old and New
Testaments, and from the lives of the saints and holy men. The plays
were acted upon a stage, usually erected under the choir of the church.
As women were not permitted to appear, priests took all the characters,
male and female. We learn, from many reliable sources, that these sacred
representations had a great effect upon the pious worshippers.

In the course of the fifteenth and sixteenth centuries, and chiefly in
the west of Europe, profane elements crept in amongst the holy legends,
and these religious entertainments also developed so greatly, that
hundreds of actors would be engaged in representations lasting over
several days, whilst the eager audiences were so large that the churches
could not contain them