IX. Her life was devoted to the relief of the poor and
suffering.

The characters introduced in the oratorio are Saint Elizabeth, Landgrave
Ludwig, Landgrave Hermann, Landgravine Sophie, a Hungarian Magnate, the
Seneschal, and the Emperor Frederick II. The last three _roles_ are
usually assigned to Ludwig, thus reducing the number of solo-singers to
four. The work is laid out in two parts, each having three scenes
corresponding in subjects with Von Schwind's six frescos. The first
describes the arrival of Elizabeth at the Wartburg, and the welcome she
receives. In the second she is married, and her husband, Ludwig, has
succeeded to the throne. His devotion to knight-errantry leads him from
home. During his absence a famine breaks out, and Elizabeth in her
devotion to the sufferers impoverishes herself and incurs the wrath of
her mother-in-law, the Landgravine Sophie. While carrying a basket of
bread and wine one day to the victims of the scourge, she is met by her
husband, who has unexpectedly returned. Amazed at the absence of her
attendants, he questions her, and she excuses herself with the plea that
she has been gathering flowers. Doubting the truth of her statement, he
snatches the basket from her. She confesses her falsehood; but upon
examining the basket it is found to be full of roses. The Lord has
performed a miracle. Overcome with remorse for doubting her, Ludwig begs
her forgiveness, and the two join in prayer that the Lord may continue
His goodness to them. The third scene opens at Schmalkald, on the borders
of Thuringia, where Ludwig has assembled his knights and nobles who are
to accompany him to the Holy Land. They declare their allegiance to
Ludwig as their leader, and he calls upon them also to swear fealty to
his wife. After a sad farewell Ludwig rides away at the head of his
Crusaders. The fourth scene opens with the news of Ludwig's death. The
Landgravine claims the castle as her inheritance, compels Elizabeth to
abandon the regency, and drives her out in the midst of a furious storm.
In the fifth scene we find her at a hospital which she has founded, and
notwithstanding her own troubles and sufferings still ministering to
others in like affliction. This scene closes with her death, and in the
last we have the ceremonies of her canonization at Marpurg.

The first scene opens with a long orchestral introduction, working up to
a powerful climax, and based mainly upon a theme from the old church
servic