Der Stellvertreter; The Representative (UK); The Deputy (US)
The play opens with a discussion between Gerstein and the Papal Nuncio of Berlin over whether Pope Pius XII should have abrogated the Reichskonkordat to protest the actions of the Nazi government of Germany. Father Riccardo Fontana, the priest protagonist, and Gerstein meet for the first time. A number of German aristocrats, industrialists, and government officials (including Adolf Eichmann) spend an evening in an underground bowling alley. Despite the commonplace setting the scene is rather macabre: conversations alternate between lighthearted pleasantries and equally dismissive discussions of the treatment of Jews. An icy Catholic industrialist—played by the same actor as Pius—defends his use of slave labor. The final scene ends with Riccardo meeting Gerstein at his apartment; at the latter's urging, he agrees to trade clothes and documents with a Jew, Jacobson, Gerstein has been hiding in order to help him escape. Act II repeatedly attempts to drive home the point that Hitler feared Pius more than any of his contemporaries and that Pius's commercial interests preclude him from condemning Hitler. One of the Cardinals argues that the Nazis are the last bulwark that remains against Soviet domination of Europe. As the Jews are rounded up for deportations "under the Pope's windows," Riccardo declares "doing nothing is as bad as taking part [...] God can forgive a hangman for such work, but not a priest, not the Pope!" and a German officer comments that the Pope has given "friendly audiences to thousands of members of the German army". Riccardo first voices his idea to follow the example of Bernhard Lichtenberg and to follow the Jews to the death camps in the East, and possibly to share in their fate. Pius, with a "cold, smiling face," "aristocratic coldness," and an "icy glint" in his eyes voices his concerns about the Vatican's financial assets and the Allied bombing of factories in Italy. Pius verbally reiterates his commitment to help the Jews but states that he must keep silent "'ad maioram mala vitanda" (to avoid greater evil). When angrily questioned by Riccardo, Pius pontificates on the geopolitical importance of a strong Germany vis-a-vis the Soviet threat. Ultimately, Riccardo shames the Pope into dictating a statement for public release; however, its wording is so vague that all are confident it will be ignored by the Germans. Riccardo views this as akin to the Crusades, a sin that forever stains Mother Church, and feels called on to prove to God that the Church is indeed worthy of his trust: " 'If God once promised Abraham that he would not destroy Sodom if only ten just men dwelt in it...maybe...God will still forgive the Church if even only a few of its servants - like Lichtenberg - stand with the persecuted...The Pope's silence burdens the Church with a guilt for which we have to atone...Not Auschwitz is at stake now! The idea of the papacy must be preserved pure in eternity, even if it is briefly embodied by an Alexander VI, or a -'" Riccardo breaks off, but clearly he, and possibly Hochhuth, want to imply a comparison between the Borgia Pope (Alexander VI) and Pius XII. Riccardo dons the yellow star and joins deportees to die at Auschwitz, where the rest of the act takes place. He is confronted by the Doctor, who is otherwise not named but closely resembles Josef Mengele. The Doctor is a nihilist to whom "Auschwitz refutes creator, creation and the creature... cursed is he who creates life. I cremate life." He takes Riccardo under his protection, hoping that the church will help him escape the hangman after Germany loses the war. Gerstein appears at the camp in an unsanctioned attempt to rescue Riccardo. Unfortunately in the end they are found out, and Riccardo momentarily loses in faith and violates his vow not to take up arms in order to shoot the maleficent Doctor, but is himself gunned down before he can pull the trigger. Gerstein is taken into custody, and Riccardo follows in a long tradition of tragic figures by showing himself partly redeemed with his dying declaration, a whispered "'in hora mortis meae voca me'" (Latin, and modally ambiguous: one could read subjunctive :"in the hour of my death may He call unto me" or imperative "in the hour of my death, call unto me!" In either case, Riccardo does not die entirely confident of salvation, which would lessen his status as a tragic hero. The play ends with a quotation from German ambassador Weizsäcker: Since further action on the Jewish problem is probably not to be expected here in Rome, it may be assumed that this question, so troublesome to German-Vatican relations, has been disposed of.