prayer. Out of sight of these effigies and paintings, however, the
oppression was at once lightened. True, these model folk could not be
permitted to decline from their prescribed standards, but they might be
allowed companions of more homely tastes, and the duly authorized wicked
ones, such as the Devil, Cain, and Herod, might display their iniquity
to the full without offence. Thus it is that in this play we find great
prominence given to the Devil and his brother demons. They would delight
the common people: therefore the author misses no opportunity of
securing applause for his production by their antics. Throughout the
play we meet with such stage directions as 'the devils are to run about
the stage with suitable gestures', or the Devil 'shall make a sally
amongst the people'. In this last the seeing eye can already detect the
presence of that close intimacy between the play and the people which
was to make the drama a 'national possession' in England. The devil,
with his grimaces and gambols, was one of themselves, was a true rustic
at heart, and they shrieked and shouted with delight as he pinched their
arms or slapped them on the back. The freer invention in dialogue is
equally plain. Much that is said by Adam and the Devil has no place in
the scriptural account of the Fall, and the importance of this for the
development of these dramas cannot be exaggerated.

The move into the open air was not accidental. Every year these sacred
plays drew larger congregations to the festival service. Every year the
would-be spectators for whom the church could not find standing room
grumbled more loudly. In the churchyard (which was still within the holy
precincts) there was ample space for all. So into the churchyard the
performers went. The valuable result of this was the creation of a
raised stage, made necessary for the first time by the crushing of the
people. But alas, what could be said for the sanctity of the graves when
throngs trampled down the well-kept grass, and groups of men and women