李斯特（FranzLiszt, 1811-1886)於1865年正式受禮成為天主教「低品階」 (minor order)神父，在此前後，他完成了兩部神劇《聖伊莉莎白傳奇》（tte Legende von der heiligen Elisabeth, 1857-1862)，以及《基督}( Christus, 1862-1866 )。其中，《聖伊莉莎白傳奇》以13世紀被封為「聖人」的女子為體裁，敘 述此女子一生的悲歡離合；《基督》劇情發展到基督耶穌最重要的兩個人生段 落「誕生」與「死亡」時，李斯特以耶穌的母親一聖母瑪利亞的視角，使用 13世紀聖芳濟修士 Jocopone da Todi (1230-1306)所寫的兩首詩歌《歡喜沉思 的聖母》（stabat附aterspeciosa)以及《聖母悼歌》（stabat附ater dolorosa)來表現這位彌賽亞的生與死。 19世紀正值法國大革命、拿破崙稱帝、歐洲政權動亂，19世紀中葉的工業 革命更造成社會階級革命，百家學說紛起，「自由主義女性主義」（Liberal Feminism、「社會主義女性主義」（Socialist Feminism)即興起於這個時代。而 李斯特神劇中之女性特質，恰與19世紀女性主義及宗教復興運動相輝映，透過 作曲家精湛的手法，以音樂呈現女性愛與悲憐的榮美特質。

Franz Liszt (1811-1886) was ordained as a minor catholic cleric in 1865. During the time while he was a cleric, he completed two oratorios, The Legend o;f St. Elizabeth (Die Legende von der heiligen Elisabeth, 1857-62) and Christ (Christus, 1862-66). The Legend of St. Elizabeth is the story of a 13th century princess from the Kindom of Hungary, Landgravine of Thruingia, who became a widow at the age of 20. She unselfishly served the sick and the poor and was canonized after her death. Liszt wrote the oratorio Christ from the perspective of Mary, the mother of Jesus. He used the lyrics of Jocopone da Todi?s (1230-1306) stabat mater spec^osa and stabat mater dolorosa to describe two important rites of passage, the birth and the death of Jesus Christ. At the end of the 18th century, during the French Revolution Napoleon proclaimed himself emperor and caused great Europe political upheavals in Europe. The Industrial Revolution in the mid-19th century caused further social evolution and revolution. "Liberal feminism" and "Socialist feminism" were born during this period. This paper focuses on the feminist characters in the two oratorios by Liszt, the interaction between feminism and the catholic reformation of the 19th century, and the compositional techniques and materials of the oratorios expressing woman’s love and mercifulness.