applause among the great mass, was with feverish haste put on the
stage, and, in order to render it more palatable, mixed with a
goodly dose of broad humour.

The same irreconcilable spirit of the Reformation, which would not
tolerate any saint's image in the places of worship, also destroyed
the liking for Miracle Plays. The tendency of the time was to turn
away from mysteries and abstract notions, and to draw in art and
poetry nearer to real life. Where formerly 'Miracles and Moralities'
were the delight of men, and Biblical utterances, put in the mouth
of prophets and saints, served to edify the audience, there the wordy
warfare and the fisticuffs exchanged between the Mendicant Friar and
the Seller of Indulgences [8] or Pardoner, whose profane doings
were satirised on the stage, became now the subject of popular
enjoyment and laughter. Every question of the day was boldly handled,
and put in strong language, easily understood by the many, before
a grateful public of simple taste.

The drama, thus created anew, soon became the most popular amusement
in the whole country. Every other sport was forgotten over it. In
every market town, in every barn, a crowd of actors met. In those
days no philosophical hair-splitting was in vogue on the boards.
Everything was drawn from real life; a breath of freedom pervaded
all this exuberant geniality. That which a man felt to-day, tomorrow
he was able to communicate to his public. The spoken word was freer
than the printed one. The latter had to pass a kind of censorship; the
author and the publisher could be ascertained, and be made responsible.
But who would be so severe against an extemporised satirical hit,
uttered perhaps by a clown? Who would, for that sake, be the denouncing
traitor?