should be able to read; and while there was an impossibility in the
way, it is not necessary to impute an unwillingness. Nor is there any
good reason for supposing that the Priesthood, in their simplicity of
faith, were then at all apprehensive or aware of any danger in the
people being able to read. Probably they worked as honest men with the
best means they could devise; endeavouring to clothe the most needful
of all instruction in such forms, and mould it up with such arts of
recreation 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.