21. The Baptism of Christ.
22. The Temptation.
23. The Woman taken in Adultery.
24. Lazarus.
25. The Council of the Jews.
26. The Entry into Jerusalem.
27. The Last Supper.
28. The Betraying of Christ.
29. King Herod.
30. The Trial of Christ.
31. Pilate's Wife's Dream.
32. The Condemnation and Crucifixion of Christ.
33. The Descent into Hell.
34. The Burial of Christ.
35. The Resurrection.
36. The Three Maries.
37. Christ Appearing to Mary.
38. The Pilgrim of Emaus.
39. The Ascension.
40. The Descent of the Holy Ghost.
41. The Assumption of the Virgin.
42. Doomsday.

One dominant characteristic is observed by every student of the original
play, namely, the maintenance of a lofty elevation of tone wherever the
sacredness of the subject demands it. The simple dramatic freedom of
that day brought God and Heaven upon the stage, and exhibited Jesus in
every circumstance of his life and death; yet on no occasion does the
play descend from the high standard of reverence which such a subject
demanded, or derogate from the dignity of the celestial Father and Son.
That this was partly due to the Bible will be admitted at once. But
there is great credit due to the writer (or writers) who could keep so
true a sense of proportion that in scenes even of coarse derision,
almost bordering on buffoonery, the central figure remained unsoiled and
unaffected by his surroundings. A writer less filled with the religious
sense must have been strongly tempted to descend to biting dialogue, in
which his hero should silence his adversaries by superiority in the use
of their own weapon. A truer instinct warned our author that any such
scene must immediately tend to a lowering of character. He refused, and
from his pen is sent forth a Man whose conduct and speech are
unassailably above earthly taint, who is, amongst men, Divine.

Observe the impressive note struck in the opening verse. God stands
amidst his angels, prepared to exercise his sovereign wisdom in the work
of creation.

My name is knowyn, God and kynge,
My werk for to make now wyl I wende[3],
In myself restyth my reynenge,
It hath no gynnyng ne non ende;
And alle that evyr xal have beynge[4],
It is closyd in my mende,
Whan it is made at my lykynge,
I may it save, I may it shende[5],
After my plesawns[6].
So gret of myth[7] is my pouste[8],
Alle thyng xal be wrowth[9] be me,
I am oo[10] God in personys thr