sacred oratorio, and it is interesting to know that the origin of both
may be traced back to the same source--viz., early miracle plays and
moralities. For some time after the introduction of Christianity into
Eastern Europe, the new converts seem to have retained their fondness
for the heathen practice used in religious, as in secular, celebrations
of theatrical representations, which were chiefly upon mythological
subjects, and all of which angered and distressed the priests of the new
religion. However, the latter soon found out that it was necessary to
reach the minds of these people through their more acutely trained
senses and the medium of their old traditions, and thus in these early
ages the dramatic element worked its way into the church worship.
Spiritual plays were arranged by the priests in all parts of
Christianised Europe, who chose scenes and stories from both Old and New
Testaments, and from the lives of the saints and holy men. The plays
were acted upon a stage, usually erected under the choir of the church.
As women were not permitted to appear, priests took all the characters,
male and female. We learn, from many reliable sources, that these sacred
representations had a great effect upon the pious worshippers.

In the course of the fifteenth and sixteenth centuries, and chiefly in
the west of Europe, profane elements crept in amongst the holy legends,
and these religious entertainments also developed so greatly, that
hundreds of actors would be engaged in representations lasting over
several days, whilst the eager audiences were so large that the churches
could not contain them, and the stage had to be erected in the
market-places, and out of doors.

The direction passed more and more into the hands of the laity, who
employed jongleurs, histrions, and strolling vagabonds, whose acting
included gross buffoonery, and whose profanity completely choked the