whole thing was at best little more than a repetition of one
fundamental air under certain arbitrary variations. As the matter
shown was always much the same, the interest had to depend chiefly on
the manner of showing it; and this naturally generated a cumbrous and
clumsy excess of manner; unless indeed the thing drew beyond itself;
while in doing this it could scarce fail to create a taste that would
sooner or later force it to withdraw from the scene.

Accordingly, Moral-Plays, as we have seen, began, early in their
course, to deviate into veins foreign to their original design: points
of native humour and wit, and lines of personal interest were taken in
to diversify and relieve the allegorical sameness; and these grew more
and more into the main texture of the workmanship. As the new elements
gained strength, much of the old treasure proved to be mere refuge and
dross; as such it was discarded; while so much of sterling wealth as
had been accumulated was sucked in, retained, and carried up into the
supervening growth.

The beginnings, then, of English Comedy and Tragedy were made long
before these appeared in distinct formation. And the first known hand
that drew off the elements of Comedy, and moulded them up by
themselves, was John Heywood, who belonged to the theatrical and
musical establishment of Henry the Eighth. His pieces, however, have
not the form of regular comedies. He called them Interludes, a name in
use many years before, and probably adopted by him as indicating the
purpose to which he designed them, of filling the gaps or intervals of
banquets and other entertainments. They are short, not taking much
more time than a single act in an ordinary comedy. Yet they have the
substance of comedy, in that they give pictures of real life and
manners, containing much sprightliness of dialogue, and not a little
of humour and character, and varied with amusing incident and allusion
drawn fresh from the writer's observation, with the dews of nature
upon them.

Heywood's earliest piece, printed in 1533, is entitled _A merry Play
between the Pardoner and the Friar, the Curate and Neighbour Pratt_. A
Pardoner and a Friar have each got leave of the Curate to use his
church, the one to exhibit his relics, the other to preach a sermon.
The Friar comes first, and is about to begin his preachment, when the
other enters and disturbs him: each wants to be heard first; and,
after a long trial which has the stronger lun