Árdís - 01.01.1951, Page 63

Ársrit Bandalags lúterskra kvenna
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Upon the dedication of the City Hall, King Hakon VII of
Norway and government officials addressed the gathering assembled
at the ceremony, patriotic songs were sung and played, including
the “Oslo Song”, especially composed for the occasion by Einar
Ellgen. The king was also present at the opening of the “Domkirke”,
where he sat in his special balcony pew first built for the king in
1700. The ceremony was conducted by Bishop Eivind Berggrav.
May 17th is the national holiday here but last year it had a
special meaning. This day may be said to be the children’s day for
Oslo’s school children parade in costumes with banners and flags
to the music of bands for two hours in a long, colorful procession
past the royal palace where they cheer the king and play the
national anthem. Thousands of well-dressed people line the parade
route and proudly watch their children. In the afternoon other
parades take place down town, the high school graduates parade,
red caps and jackets, comical placards, tin-can and cow-bell music;
then the civilian parade with bands and groups in national costumes
from different parts of Norway, carrying banners and flags. Private
and public parties wind up this great, annual festival.
In September a trip took me outside of the Scandinavian
Penninsula, via Sweden and Denmark to Oberammergau in Ger-
many, where the highlight of our trip was embodied in the famous
Passion Play, which attracts hundreds of thousands of tourists each
year, some of whom probably come out of ordinary tourist curiosity
while others come in humbleness to witness the Passion of our Lord
as interpreted by the actors with sincerity and dignity. Deeply
rooted in the heart of the ancient village is the theme of the play
which has been performed at ten-year intervals since the year 1633.
The children grow up to the feeling of it, taking part in the mob
scenes and somehow unconsciously selecting the character which
they wish to portray when they grow up and sometimes perhaps
realizing their dream. Such was the case with Anton Preisinger,
who took the part of Christ this time. He acted beautifully with
all the humbleness, kindness, dignity and strength characteristic of
Jesus, lacking, however the divinity which would radiate from Him.
In my case the play did not make the suffering of Christ any more
vivid in my mind than a keen imagination. However, one point was
brought home to me more forcibly than ever before and that was the
tremendous influence wielded by the priests as agitators for evil, in