One striking feature of the Passion Play is the absence of superstitious elements. Beyond the dominating influence of the purpose of God, which is brought into strong prominence, there is almost nothing which suggests the supernatural or miraculous. That little even is forgotten in the intensity of human interest. The Devil and his machinations have vanished entirely. One sees in the religious customs of the people of Oberammergau few of the superstitions common among the peasant classes of other parts of Europe. In his little book, "Oberammergau und Seine Bewohner," Pastor Daisenberger says: "Superstitious beliefs and customs one does not find here." Even the ordinary ghost-stories and traditions of Germany are outworn and forgotten in this town. In 1634, so the tradition says, the black death came to Oberammergau, and one-tenth of the inhabitants died. The others made a vow, "a trembling vow, breathed in a night of tears," that if God should stay the plague, they would, on every tenth year, repeat in full, for the edification of the people, the Tragedy of the Passion. Other communities might build temples or monasteries, or could undertake pilgrimages; it should be their duty to show "The Way of the Cross." When this vow was taken, the pestilence ceased, and not another person perished. This was regarded by the people as a visible sign of divine approval. Thus every tenth year for nearly three centuries, ever since the time when the Pilgrims landed on Plymouth Rock, with varying fortunes and interruptions, the Passion Play has been represented in Oberammergau. The play in its present form is essentially the work of Josef Alois Daisenberger, who was for twenty years pastor of the church at Oberammergau. In this town he was born in the last year of the last century, and there he died, in 1888, revered and beloved by all who came near him. "I wrote the play," Pastor Daisenberger said, "for the love of my Divine Redeemer, and with no other object in view than the edification of the Christian world." The first aim of the Passion Play has been the training of the common people. To its various representations came the peasants of Bavaria, Wuertemberg, and the Tyrol, on horses, on donkeys, on foot, a long and difficult journey across mountain-walls and through great forests. It was the memory and inspiration of a lifetime to have seen the Passion Play. About forty years ago the tourist world discovered this scene; and since then, on the decennial year, an ever-increasing interest has been felt, an ever-growing stream of travel has been turned toward the Ammer Valley. All, prince or peasant, are treated alike by the simple, honest people, and the same preparation is made for the reception of all. The purpose of the play should be kept in mind in any just criticism. To have the right to discuss it at all, one must treat it in a spirit of sympathy.