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 working quietly in their schools and performed their biblical and historical plays.

That not all dramatic productions of the Jesuits were of very inferior quality may again be inferred from testimonies of competent Protestant critics. K. von Reinhardstöttner writes: "In the first century of their history the Jesuits did great work in this line. They performed dramas full of power and grandeur and although their dramatic productions did not equal the fine lyrics of (the Jesuits) Balde and Sarbiewski, still in the dramas of Fabricius, Agricola and others there is unmistakably poetic spirit and noble seriousness. How could the enormous success of their performances be otherwise explained? .... Who could doubt for a moment that the Jesuits by their dramas rendered great services to their century, that they advanced culture, and preserved taste for the theatre and its subsidiary arts? It would be sheer ingratitude to undervalue what they have effected by their drama."

We have testimonies proving that not only in the first century of its existence did the Order produce good plays, but that it kept up a high standard to the very end. One witness is Goethe, the first of German writers, assuredly no mean critic in dramatic matters. He was present at a play given in 1786 at Ratisbon, where the traditions of the Jesuit schools were kept up after the suppression of the Order. He bestows high praise on the performance and on the skill with which the Jesuits knew how to make the various arts subservient to their dramatics.