upon the stage until some years after Elizabeth had been seated on the
throne, and until what was called "the new faith" was firmly settled in
the belief, and in the affections, of the great majority of the nation.
We apprehend, therefore, that "The Conflict of Conscience" was not
written until about 1570.

It is the introduction of this real person, under the covert name of
Philologus, that constitutes the chief distinction between the drama we
have reprinted and Moral-plays, which, though still sometimes exhibited,
were falling into desuetude. As most persons are aware, they consisted,
in their first and simplest form, entirely of allegorical or
representative characters, although, as audiences became accustomed to
such abstractions, attempts were from time to time made to give, even to
such imaginary impersonations, individual peculiarities and interests.
Besides the hero of "The Conflict of Conscience," his friends Eusebius
and Theologus may also have been intended for real personages; and
Gisbertus and Paphinitius were, possibly, the true names of the sons of
Francis Spiera.

It will he seen that the drama is divided into six acts; but the last
act consists of no more than a short speech by a Nuntius, who comes
forward, as it should seem, to give a false representation of an
historical fact--so early did a dramatist feel himself warranted in
deviating from received statements, if it better answered his purpose
not to adhere to them. In the instance before us, Nathaniel Woodes
thought fit to alter the catastrophe, for the sake of the moral lesson
he wished to enforce; and he, therefore, represented that Spiera had not
committed suicide, and had, to the great joy of his friends, before
death been re-converted to the religion he had so weakly abandoned. It
will he observed, also, that the divisions of acts and scenes are very