How just this account is will appear from the fact that in the first or old comedy of the Athenians, most of the dramatis persona were living characters introduced under their own names; and no doubt, their ordinary dress, manner, person and voice were closely mimicked. In less favourable states of society, as that of England in the middle ages, the beginnings of comedy would be constantly taking place from the mimics and satirical minstrels; but from want of fixed abode, popular government, and the successive attendance of the same auditors, it would still remain in embryo. I shall, perhaps, have occasion to observe that this remark is not without importance in explaining the essential differences of the modern and ancient theatres.

Phenomena, similar to those which accompanied the origin of tragedy and comedy among the Greeks, would take place among the Romans much more slowly, and the drama would, in any case, have much longer remained in its first irregular form from the character of the people, their continual engagements in wars of conquest, the nature of their government, and their rapidly increasing empire. But, however this might have been, the conquest of Greece precluded both the process and the necessity of it; and the Roman stage at once presented imitations or translations of the Greek drama. This continued till the perfect establishment of Christianity. Some attempts, indeed, were made to adapt the persons of Scriptural or ecclesi

astical history to the drama; and sacred plays, it is probable, were not unknown in Constantinople under the emperors of the East. The first of the kind is, I believe, the only one preserved,—namely, the Xploròs Iláryov, or, "Christ in his sufferΧριστός Πάσχων, ings," by Gregory Nazianzen,-possibly written in consequence of the prohibition of profane literature to the Christians by the apostate Julian.* In the West, however, the enslaved and debauched Roman world became too barbarous for any theatrical exhibitions more refined than those of pageants and chariot-races; while the spirit of Christianity, which in its most corrupt form still breathed general humanity, whenever controversies of faith were not concerned, had done away the cruel combats of the gladiators, and the loss of the distant provinces prevented the possibility of exhibiting the engagements of wild beasts.

I pass, therefore, at once to the feudal ages which soon succeeded, confining my observation to this country; though, indeed, the same remark with very few alterations will apply to all the other states, into which the great empire was broken. Ages of darkness succeeded; not, indeed, the darkness of Russia or of the barbarous lands unconquered by Rome; for from the time of Honorius

* A. D. 363. But I believe the prevailing opinion amongst scholars now is, that the Xporos Ilúoxov is not genuine. Ed.

to the destruction of Constantinople and the consequent introduction of ancient literature into Europe, there was a continued succession of individual intellects; the golden chain was never wholly broken, though the connecting links were often of baser metal. A dark cloud, like another sky, covered the entire cope of heaven, — but in this place it thinned away, and white stains of light showed a half eclipsed star behind it, — in that place it was rent asunder, and a star passed across the opening in all its brightness, and then vanished. Such stars exhibited themselves only; surrounding objects did not partake of their light. There were deep wells of knowledge, but no fertilizing rills and rivulets. For the drama, society was altogether a state of chaos, out of which it was, for a while at least, to proceed anew, as if there had been none before it. And yet it is not undelightful to contemplate the eduction of good from evil. The ignorance of the great mass of our countrymen was the efficient cause of the reproduction of the drama; and the preceding darkness and the returning light were alike necessary in order to the creation of a Shakspeare.

The drama re-commenced in England, as it first began in Greece, in religion. The people were not able to read, the priesthood were unwilling that they should read; and yet their own interest compelled them not to leave the people wholly ignorant of the great events of sacred history. They did

that, therefore, by scenic representations, which in after ages it has been attempted to do in Roman Catholic countries by pictures. They presented Mysteries, and often at great expense; and reliques of this system still remain in the south of Europe, and indeed throughout Italy, where at Christmas the convents and the great nobles rival each other in the scenic representation of the birth of Christ and its circumstances. I heard two instances mentioned to me at different times, one in Sicily and the other in Rome, of noble devotees, the ruin of whose fortunes was said to have commenced in the extravagant expense which had been incurred in presenting the præsepe or manger. But these

Mysteries, in order to answer their design, must not only be instructive, but entertaining; and as, when they became so, the people began to take pleasure in acting them themselves—in interloping, -(against which the priests seem to have fought hard and yet in vain) the most ludicrous images were mixed with the most awful personations; and whatever the subject might be, however sublime, however pathetic, yet the Vice and the Devil, who are the genuine antecessors of Harlequin and the Clown, were necessary component parts. I have myself a piece of this kind, which I transcribed a few years ago at Helmstadt, in Germany, on the education of Eve's children, in which after the fall and repentance of Adam, the offended Maker, as in proof of his reconciliation, condescends to visit

them, and to catechise the children,

who with a noble contempt of chronology are all brought together from Abel to Noah. The good children say the ten Commandments, the Belief and the Lord's Prayer; but Cain and his rout, after he had received a box on the ear for not taking off his hat, and afterwards offering his left hand, is prompted by the devil so to blunder in the Lord's Prayer as to reverse the petitions and say it backward! *

Unaffectedly I declare I feel pain at repetitions like these, however innocent. As historical documents they are valuable; but I am sensible that what I can read with my eye with perfect innocence, I cannot without inward fear and misgivings pronounce with my tongue.

Let me, however, be acquitted of presumption if I say that I cannot agree with Mr. Malone, that our ancestors did not perceive the ludicrous in these things, or that they paid no separate attention to the serious and comic parts. Indeed his own statement contradicts it. For what purpose should the Vice leap upon the Devil's back and belabour him, but to produce this separate attention? The people laughed heartily, no doubt. Nor can I conceive any meaning attached to the words "separate attention," that is not fully answered by one part of an exhibition exciting seriousness or pity, and the

See vol. i. p. 76, where this is told more at length and attributed to Hans Sachs. Ed. Vol. ii. pp. 16, 17, 2nd edit. S. C.