tives of Holy Writ, by sensible representations of awful facts, where the punishment of vice, and the reward of virtue, were unfolded, could have taught nothing hurtful; and in this view these religious dramas rest upon much less questionable principles of morality than many of the popular productions of more civilized ages. Might not these plays also excite the desire of examining the source whence they were derived, and thus conduce, in a partial degree, to a general knowledge of the Scriptures, an investigation of the errors of the existing creed, and eventually to the overthrow of the papal power? In a later age the stage was successfully resorted to, as an auxiliary to the pulpit. Both the Roman Catholics and Protestants rendered religious plays the vehicles of opinion 2, where truths were frequently elicited, though too often sullied by expressions of the bitterest censure and intolerance. Amongst the Reformers, Bale stood foremost in seizing this weapon, and, whilst dramatizing in his " Comedies various parts of the Scriptures, he powerfully exposed the abuses of the Romish Church, and inculcated

* Burney's Hist. Music, iv. 83.

3 The Privy Council in the reign of Queen Mary, (30th April, 1556,) addressed a letter to the Earl of Shrewsbury, "President of the Counsell in the North," (and which is briefly quoted by Mr. Malone at p. 44); stating that they had lately been informed "that certaine lewde psonnes, to the nombre of 6 or 7 in a company, naming themsellfs to be Servaunts unto Sir Francis Leek, and wearing his livery, and badge on theyr sleves, have wandered about those North partes, and represented certaine playes and enterludes, conteyning very naughty and seditious matter touching the King and Quene's Ma.", and the state of the realme, and to the slaunder of Christe's true and Catholik religion." The performance of such playes is then prohibited, the Servants of Sir F. Leek are to be sought for, "and ordred according to theyr deserts," and on any repetition of the offence to be " punished as vagabounds." Lodge's Illustrations, i. 212.

4 Amongst the Plays of Bale may be enumerated, "A brefe Comedy or Enterlude of Iohan Baptystes preachynge in the Wyldernesse." [Harl. Miscel. i. 97.]

the principles he had espoused. Edward VI. was induced to employ his pen in the same cause, and doubtless thought himself better employed than in "scribbling controversial ribaldry," as Walpole styles it, when he furnished, what one of his eulogists terms, "a most elegant comedy, the Whore of Babylon."

"It is of all things (says Burke) the most instructive, to see not only the reflection of manners and characters at several periods, but the modes of making their reflection, and the manner of adapting it at those periods to the taste and disposition of mankind. The stage indeed may be considered as the republic of active Literature, and its history as the history of that state." Under these impressions the Editor has committed two of these singular productions to the press; in the hope also, that although they may appear offensive to the taste of the present age, no apologies are requisite for giving a limited circulation to compositions so curious, and, in many respects, so interesting. He offers them as relics of the literature and amusements of our ancestors; and when we regard the spirit in which they were written, and the reverence with which they were viewed, suspicion of intentional profaneness or indelicacy cannot attach to the pen from which they proceeded."Such spectacles," says an

"A brefe Comedy or Enterlude concernynge the Temptacyon of our Lord and Saver Jesus Christ, by Sathan in the desart." 1538. A copy of this rare piece is in the possession of Mr. Douce.

"A Comedy concerning the three Laws of Nature, Moses, and Christ, &c. 1538."

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66

Two of Bale's Plays, God's Promises," and "John the Baptist," were acted by young men at the Market Cross at Kilkenny, on a Sunday, in the year 1552." (Vide Trans. Royal Irish Acad. ii. part 2. page 83.) The first, by his own account, was performed with Organe-plainges and Songes very aptely." 5 Walpole's Royal and Noble Authors, i. 23. (edit. 1759.) 6 Holland's Heroologia, p. 27.

elegant and lamented writer", "indicate the simplicity, rather than the libertinism, of the age in which they were exhibited. The distinction between modesty of thought and decency, which resides in the expression, is a modern refinement; a compromise between chastity and seduction, which stipulates not the exclusion, but only the disguise of licentiousness; and may, perhaps, be a proof of a purer taste, but is no evidence of a very severe and rigid morality." JAMES HEYWOOD MARKLAND. Temple, 1818.

7 Mr. G. Ellis. Vide Preface to Way's Fabliaux, xxxvi. edit. 1815.

C. Baldwin, Printer, New Bridge-street, London.

END OF VOL. III.