beyond points of detail; their effect thus being to approve the
strength of the common principles that underlie and support them.
These principles cover the whole ground of difference from the Classic
Drama. The several varieties, therefore, of the Gothic Drama may be
justly regarded as bearing concurrent testimony to a common right of
freedom from the jurisdiction of ancient rules.

* * * * *

Of the rise and progress of the Drama in England, my limits will
permit only a brief sketch, not more than enough to give a general
idea on the subject.

In England, as in the other Christian nations where it had any thing
of originality, the Drama was of ecclesiastical origin, and for a long
time was used only as a means of diffusing a knowledge of the leading
facts and doctrines of Christianity as then understood and received.
Of course, therefore, it was in substance and character religious, or
was meant to be so, and had the Clergy for its authors and founders.
But I cannot admit the justice of Coleridge's remark on the subject.
"The Drama," says he, "recommenced in England, as it first began in
Greece, in religion. The people were unable to read; the Priesthood
were unwilling that they should read; and yet their own interest
compelled them not to leave the people wholly ignorant of the great
events of sacred history."

Surely, it is of consequence to bear in mind that at that time "the
people" had never been able to read; printing had not been heard of
in Europe; books were multiplied with great difficulty, and could not
be had but at great expense: so that it was impossible the people