On the Mount, there is another brief dialogue, committing Peter and the other disciples--a wholly hostile presentment. Again the scene changes to Gethsemane, where the three selected disciples with whom Jesus withdraws actually sleep while he utters the prayer set down. There was thus no one to hear it. Any biographical theory which is concerned to respect verisimilitude must here recognize something else than narrative, and will presumably posit invention. But why should invention take this peculiar form? If the object was to impeach the disciples--and they certainly are impeached--is it not an impossibly crude device to tell of their sleeping throughout the prayer and its repetition, leaving open the retort: "You report the words of the prayer: from whom did you get them if not from those disciples, who must have heard them?" But if we suppose the scene first presented dramatically, no perplexity or counter-sense is involved. The impeachment is effectual; the episode is seen; and no one is concerned, in presence of a drama, to ask how certain words came to be known to have been spoken by any personage. It is the reduction to narrative form that betrays the dramatic source. And when we find in both Matthew and Mark, which clearly embody the same original document, this sequence: And again he came, and found them sleeping ... and they wist not what to answer him [nothing has been said]. And he cometh the third time, and saith unto them, Sleep on now, and take your rest: it is enough; the hour is come: behold, the son of man is betrayed.... Arise now ..., the documentary crux, which the biographical school makes vainly violent attempts to solve, is at once solved when we realize that in the transcription two speeches have accidentally been combined. The drama must have gone thus:-- The disciples still asleep. Enter Jesus. Jes. Sleep on now and take your rest. [Exit. Enter Jesus. (Disciples still asleep.) Jes. It is enough: the hour is come, etc. The transcriber, missing an exit and an enter, has simply run two speeches together; and the gospel copyists have faithfully followed their copy, putting "they wist not what to answer him" in the wrong place. In an original narrative the combination could not happen. In the transcription of the copy of a play it could easily happen. We find instances in the printing of the plays of Shakespeare and other early dramatists. [One antagonist of the mystery-play theory, making no attempt to rebut the above solution, denies that it can be applied to the midnight trial before the priests, elders, and scribes. Of this trial M. Loisy recognizes the impossibility: pronouncing that, sans doute, the asserted search for witnesses by night never took place. But, says the objector [218]:--