IX. The Play of Antichrist

The idea of Antichrist’s appearing as a person and ruling in Jerusalem, which dominated the imagination of the medieval mind, found expression not only in theological works but also in poetical and theatrical forms. In the middle of the twelfth century, for instance, a play was written in southern Germany called Ludus de Antichristo (Play of Antichrist), which depicts the emperor of the West receiving the submission of the kings of France, Greece, Babylon, and Jerusalem. As the time of this age is completed the emperor lays down his imperial crown on the altar of God in Jerusalem; but the followers of Antichrist, under the latter’s guidance, usurp the power and emulate the false miracles of Antichrist himself, gain the following of the heathen, the Jews, and the empire. At this extremity none can help except God. He sends the Two Witnesses, Enoch and Elijah, but Antichrist kills them. Then, just at the moment when Antichrist is ready to proclaim that peace will now reign on earth, as these disturbing witnesses are silenced forever, a clap of thunder supposedly shatters the head of the Antichrist. Christ the Lord has destroyed him ^{57Dempf, op. cit., pp. 256-258.}PFF1 586.3

This idea—that all the world will be united under one emperor before Antichrist appears-is nothing new. It can be traced back to the Tiburtine Sibylline ^{58Sackur, op. cit., pp. 114 ff.} The old Tiburtine is found in many editions and recensions, but the original document dates back to the fourth century, and celebrates the emperor Constans as the last Roman ruler. Here, perhaps for the first time, the idea is mentioned that the emperor will obtain the dominion over all the world, and at the end of his reign will march to the holy city Jerusalem to lay down his crown on Golgotha.PFF1 587.1