vour of them; and the result of his efforts was, that they were then made annual, suitable measures being taken for preventing the former disorders. But the best evidence as to the share the Clergy had in these representations is furnished by the account-book of Thetford Priory from 1461 to 1540; which contains numerous entries of payments to players, and in divers cases expressly states that members of the convent assisted in the performances. These were commonly held two or three times a year: in 1531 there were five repetitions of them; after which time there are but three entries of plays wherein the members participated with the common actors; the old custom being broken up most likely by the progress of the Reformation. Further information on the subject is supplied by Dean Colet, who in 1511 delivered an oratio ad clerum at St. Paul's, in which he complains that the Clergy lose themselves in banquetings and vain discourse, in plays and sports, in hawking and hunting; and he urges them to study the laws and holy rules of the fathers, which forbid clergymen to be traders, usurers, hunters, public players, or soldiers.

The custom in question, however, was by no means universal. We have already seen that in 1391 and 1409 plays were acted by the parish clerks of London. In cities and large towns, these performances were generally in the hands of the trading companies. Our information touching the Corpus Christi plays at Coventry extends from 1416 to 1591; during which period there is no sign of the Clergy having any share in them. The records of Chester also show that the whole business was there managed by laymen. And in 1487 a Miracle-play on the descent of Christ into hell was acted before Henry VII. by the charity boys of Hyde Abbey and St. Swithin's Priory. Long before this date, acting was taken up as a distinct profession, and regular companies of actors were formed; but of these we shall have to speak more hereafter.

That churches and chapels of monasteries were at first,

and for a long time after, used as theatres, is very certain The Anglo-French poem already referred to informs us that Miracle-plays were sometimes performed in churches and cemeteries, the Clergy getting them up and acting in them. And Burnet tells us that Bishop Bonner as late as 1512 issued an order to his clergy, forbidding "all manner of common plays, games, or interludes to be played, set forth, or declared within their churches and chapels." Nor was the custom wholly discontinued till some time after that; for in 1572 was printed a tract which has a passage inferring that churches were still sometimes used for such purposes. The author is remarking how the Clergy read the service: "He again posteth it over as fast as he can gallop; for either he hath two places to serve, or else there are some games to be played in the afternoon, as lying for the whetstone, heathenish dancing for the ring, a bear or a bull to be baited, or else jack-an-apes to ride on horseback, or an interlude to be played; and if no place else can be gotten, it must be done in the church."

When plays were performed in the open air, temporary scaffolds or stages were commonly erected for the purpose; though in some cases the scaffold was set on wheels, so as to be easily moved from one part of the town to another. From an account of Chester, written in the time of Elizabeth, it appears that the structure there used had two stages, one above the other; the lower being closed in, to serve as a dressing-room for the actors; while the performance was on the upper stage where it could be seen by all the spectators. Sometimes the lower stage seems to have been used for hell, the devils rising out of it, or sinking into it, as occasion required. It is pretty evident, however, that in some of the plays more than one scaffold must have been used. And Mr. Collier thinks there can be no doubt, from some of the stage-directions in the Towneley and Coventry plays, that two, three, and even four scaffolds were erected round a centre, the actors going from one to another across "the

mid place," as the scene changed, or their several parts required.

As to the general character of the plays themselves, this may best be shown by brief analyses of some of them. Our specimens will be chiefly from the Towneley series, as these are the most ancient. The first play of the set includes the Creation, the revolt of Lucifer and his adherents, and their expulsion from heaven. It opens with a short address from the Deity, who then begins the creation, and, after a song by the cherubim, descends from the throne, and retires; Lucifer usurps it, and asks his fellows how he appears. The good and bad angels have different opinions on the subject: the Deity soon returns, and ends the dispute by casting the rebels with their leader out of heaven. Adam and Eve are then created, and Satan ends the piece with a speech venting his envy of their happiness in Eden.

The second play relates to the killing of Abel. It is opened by Cain's plough-boy with a sort of prologue, in which he declares himself "a merry lad," and warns the spectators to be silent, wishing, if any one make a noise, "the devil hang him up to dry." Cain then enters with a plough and team, and quarrels with the boy for refusing to drive the team. Presently Abel comes in, and wishes God may speed Cain, who meets his kind word with a very unmentionable request. The killing then proceeds, and is followed by the cursing of Cain; after which, he calls the boy, and beats him "but to use his hand;" he owns the slaying of his brother, and the boy counsels flight, lest the bailiffs catch them. Next we have a course of buffoonery: Cain makes a mock proclamation in the king's name; the boy repeats it blunderingly after him, and is then sent off with the team; and the piece ends with a speech by Cain to the spectators, bidding them farewell forever, before he goes to the devil.

No. 3d of the series is occupied with the Deluge. After a lamentation from Noah on the sinfulness of the world

God is introduced repenting that He has made man, telling Noah how to build the Ark, and blessing him and his. Noah's wife is an arrant shrew, and they fall at odds in the outset, both of them swearing by the Virgin Mary: she complains that he does nothing for the family. Noah begins and finishes the Ark on the spot, "in the name of the Father, and of the Son, and of the Holy Ghost;" then tells his wife what is coming, and invites her on board. His description of the flood is rather poetical part of it may be rendered in modern English thus: “Behold the heavens! All the cataracts are opened, both great and small; the seven planets have left their stations; thunders and lightning strike down the strong halls, bowers, castles, and towers." Her ladyship stoutly refuses to embark; this brings on another flare-up; he befriends her with a whip; she resents that kindness, but comes off second best; wishes herself a widow, and the same to all the other wives in the audience; he exhorts all the husbands to break their wives in, lest they get broken in by them: at length harmony is restored by the intervention of the sons; all go on board, and pass three hundred and fifty days talking about the weather a raven is sent out, then a dove; they all debark, and there an end.

:

Two plays of the series are taken up with the adoration of the shepherds. After a soliloquy by the first shepherd on the uncertainty of human life, the second enters, and picks a quarrel with him; then the third arrives on horseback, parts them, and tells them he never saw any act so but "the fools of Gotham:" thereupon they all become friends again, eat supper together, drink ale, sing songs, and go to sleep. While they are asleep, an angel announces to thm the birth of Christ, and they, waking, see the star. The third shepherd refers to Isaiah and other prophets, and quotes Virgil, though not correctly: the second objects to this display of learning; and they hasten to Bethlehem, and make their offerings.

The next play, No. 12th, is worthy of special notice, as being not a religious play at all, but a piece of broad comedy, approaching to downright farce, and having touches of rude wit and humour. The three shepherds, after talking awhile about their shrewish wives, are on the point of striking up a song, when an old acquaintance of theirs, named Mak, whose character for honesty is none of the best, comes amongst them. They suspect him of meditating some sly trick; so, on going to sleep, they take care to have him lie between them, lest he should play the wolf among their woolly subjects. While they are snoring, he steals out, helps himself to a fat sheep, and makes off with it, as he had often done before. His wife fears he may be snatched up and hanged; but her wit suggests a scheme, which is presently agreed upon, that she shall make as if she had just been adding a member to the family, and that the sheep shall be snugly wrapped up in the cradle. This done, Mak hastens back, and resumes his sleeping-posture, to avoid suspicion. In the morning, the shepherds wake much refreshed, one of them saying that he feels "as light as leaf on a tree;" but Mak pretends to have a crick in the neck from lying long in an uneasy position; and as they walk to the fold, he whips away home. They soon miss the sheep; swear by St. Thomas of Kent that they suspect Mak; go to his cottage; knock: he lets them in, tells them what his wife has been doing, and begs them not to disturb her: she joins in the request; and, as the least noise seems to go through her head, they are at first taken in: they ask to see the child before they go, and one of them offers to give it sixpence : Mak tells them the child is asleep, and will cry badly if waked: still they press on; pull up the covering of the cradle, see their sheep, know it by the ear-mark; but the wife assures them it is a child, and that evil spirits have transformed it into what they see: this will not go, they are not to be gulled any further; they beat Mak till they are tired then lie down to rest; the star in the east appears, and

out;