and pleasure, as might render it interesting and attractive
to the popular mind. In all which they seem to have merited any thing
but an impeachment of their motives. However, the point best worth
noting here is the large share those early dramatic representations
had in shaping the culture of Old England, and in giving to the
national mind its character and form. And perhaps later ages, and
ourselves as the children of a later age, are more indebted to those
rude labours of the Clergy in the cause of religion than we are aware,
or might be willing to acknowledge.

MIRACLE-PLAYS.

In its course through several ages the Drama took different forms from
time to time, as culture advanced. The earliest form was in what are
called Plays of Miracles, or Miracle-Plays. These were mostly founded
on events of Scripture, though the apocryphal gospels and legends of
saints and martyrs were sometimes drawn upon for subjects or for
embellishments. In these performances no regard was paid to the rules
of natural probability; for, as the operation of supernatural power
was assumed, this was held a sufficient ground or principle of
credibility in itself. Hence, indeed, the name Marvels, Miracles, or
Miracle-Plays, by which they were commonly known.

Our earliest instance of a Miracle-Play in England was near the
beginning of the twelfth century. Matthew Paris, in his _Lives of the
Abbots_, written as early as 1240, informs us that Geoffrey, Abbot of
St. Albans, while yet a secular person brought out the Miracle-Play of
_St. Catharine_ at Dunstaple; and that for the needed decorations he
obtained certain articles "from the Sacristy of St. Albans." Geoffrey,
who was from the University of Paris, was then teaching a school at
Dunstaple, and the play was performed by his scholars. Warton thinks
this was about 1110: but we learn from Bulaeus that Geoffrey became
Abbot of St. Albans in 1119; and all that can with certainty be
affirmed is, that the performance was before he assumed a religious
habit. Bulaeus also informs us that the thing was not then a novelty,
but that it was customary for teachers and scholars to get up such
exhibitions.

Our next information on the subject is from Fitzstephen's _Life of
Thomas a Becket_, as quoted by Stowe. Becket died in 1170, and the
_Life_ was probably written about twelve years later. After referring
to the public amusements of ancient Rome, Fitzstephen says: "In lieu
of such theatrical shows an