dresses, decorations, and implements, and for playbooks, xxs. To John Hobard, brotherhoode preeste, that is, a priest of the guild in the church, for the play-book, ijs. viiid. For the crofte, or field in which the play was exhibited, js. For propyrtemaking, or furniture, js, ivd. For fish and bread, and to setting up the stages, ivd. For painting three fanchoms and four tormenters, words which I do not understand, but perhaps fantoms and devils The rest was expended for a feast on the occasion, in which are recited • Four chicken for the gentilmen, ivd.' It appears by the manuscript of the Coventry plays, that a temporary scaffold only was erected for these performances."7

In the ancient religious plays the Devil was very frequently introduced. He was usually represented with horns, a very wide mouth, (by means of a mask,) staring eyes, a large nose, a red beard, cloven feet, and a tail. His constant attendant was the

on the story of Tobit in the Old Testament, which was exhibited in the Broad-gate, Lincoln, in July 1563, (6 Eliz.) appeared in The Gentleman's Magazine for June, 1787:

Lying at Mr. Norton's house in tenure of William Smart. "First Hell-mouth, with a nether chap. Item, A prison, with a covering. It. Sarah's chamber."

"Remaining in St. Swithin's church.

"It. A great Idol. It. A tomb with a covering. It. The cyty of Jerusalem with towers and pinacles. It. The cyty of Rages, with towers and pinacles. It. The city of Nineveh. It. The kings palace of Nineveh. It. Old Tobyes house. It. The kyngs palace at Laches. It. A firmament with a firy cloud, and a double cloud, in the custody of Thomas Fulbeck, Alder

man."

7 History of English Poetry, Vol. III. p. 326. "Strype, under the year 1559, says, that after a grand feast at Guildhall, the same day was a scaffold set up in the hall for a play." Ann. Ref. I. 197, edit. 1725.

Vice, (the buffoon of the piece,) whose principal employment was to belabour the Devil with his wooden dagger, and to make him roar for the entertainment of the populace."

As the Mysteries or Miracle-plays "frequently required the introduction of allegorical characters, such as Charity, Sin, Death, Hope, Faith, or the like, and as the common poetry of the times, especially among the French, began to deal much in allegory, at length plays were formed entirely consisting of such personifications. These were called MORALITIES. The Miracle-plays or MrsTERIES were totally destitute of invention and plan: they tamely represented stories, according to the letter of the scripture, or the respective legend. But the MORALITIES indicate dawnings of the dramatick art: they contain some rudiments of a plot, and even attempt to delineate characters, and to paint manners. From hence the gradual transition to real historical personages was natural and obvious."9

Dr. Percy, in his Account of the English Stage, has given an Analysis of two ancient Moralities, entitled Every Man, and Lusty Juventus, from which a perfect notion of this kind of drama may be obtained. Every Man was written in the reign of King Henry the Eighth, and Lusty Juventus in that

"It was a pretty part in the old church-playes," says Bishop Harsenet, "when the nimble Vice would skip up nimbly like a Jack-an-apes into the Devil's necke, and ride the devil a course, and belabour him with his wooden dagger, till he made him roar, whereat the people would laugh to see the Devil so Vicehaunted." Harsenet's Declaration of Popish Impostures, &c. 4to. 1603.

• Warton's History of English Poetry, Vol. I. p. 242. Percy's Reliques of Ancient English Poetry, Vol. I. p. 128.

of King Edward the Sixth. As Dr. Percy's curious and valuable collection of ancient English Poetry is in the hands of every scholar, I shall content myself with merely referring to it. referring to it. Many other Moralities are yet extant, of some of which I shall give titles below.' Of one, which is not now extant, we have a curious account in a book entitled, Mount Tabor, or Private Exercises of a Penitent Sinner, by R. W. [R. Willis] Esqr. published in the year of his age 75, Anno Domini, 1639; an extract from which will give the reader a more accurate notion of the old Moralities than a long dissertation on the subject.

"UPON A STAGE-PLAY WHICH I SAW WHEN

I WAS A CHILD.

"In the city of Gloucester the manner is, (as I think it is in other like corporations,) that when players of enterludes come to towne, they first attend the Mayor, to enforme him what noblemans servants they are, and so to get licence for their publike playing; and if the Mayor like the actors, or would shew respect to their lord and master, he appoints them to play their first play before himself, and the Alderman and CommonCounsell of the city; and that is called the Mayor's

1

Magnificence, written by John Skelton; Impatient Poverty, 1560; The Life and Repentance of Marie Magdalene, 1567; The Trial of Treasure, 1567; The Nice Wanton, 1568; The Disobedient Child, no date; The Marriage of Wit and Science, 1570; The Interlude of Youth, no date; The longer thou livest, the more Fool thou art, no date; The Interlude of Wealth and Health, no date; All for Money, 1578; The Conflict of Conscience, 1581; The Three Ladies of London, 1584; The Three Lords of London, 1590; Tom Tyler and his Wife, &c.

play: where every one that will, comes in without money, the Mayor giving the players a reward as hee thinks fit to shew respect unto them. At such a play, my father tooke me with him and made me stand between his leggs, as he sate upon one of the benches, where we saw and heard very well. The play was called The Cradle of Security, wherein was personated a king or some great prince, with his courtiers of several kinds, among which three ladies were in special grace with him; and they keeping him in delights and pleasures, drew him from his graver counsellors, hearing of sermons, and listening to good councell and admonitions, that in the end they got him to lye down in a cradle upon the stage, where these three ladies joyning in a sweet song, rocked him asleepe, that he snorted againe; and in the mean time closely conveyed under the cloaths wherewithall he was covered, a vizard, like a swines snout, upon his face, with three wire chains fastened thereunto, the other end whereof being holden severally by those three ladies; who fall to singing againe, and then discovered his face that the spectators might see how they had transformed him, going on with their singing. Whilst all this was acting, there came forth of another doore at the farthest end of the stage, two old men; the one in blew, with a serjeant at armes his mace on his shoulder; the other in red, with a drawn sword in his hand, and leaning with the other hand upon the others shoulder; and so they went along with a soft pace round about by the skirt of the stage, till at last they

• The Cradle of Securitie is mentioned with several other Moralities, in a play which has not been printed, entitled Sir Thomas More, MSS. Harl. 3768.

came to the cradle, when all the court was in the greatest jollity; and then the foremost old man with his mace stroke a fearfull blow upon the cradle; wherewith all the courtiers, with the three ladies, and the vizard, all vanished; and the desolate prince starting up bare-faced, and finding himself thus sent for to judgement, made a lamentable complaint of his miserable case, and so was carried away by wicked spirits. This prince did personate in the Morall, the wicked of the world; the three ladies, Pride, Covetousness, and Luxury; the two old men, the end of the world, and the last judgement. This sight took such impression in me, that when I came towards mans estate, it was as fresh in my memory, as if I had seen it newly acted."3

The writer of this book appears to have been born in the same year with our great poet (1564). Supposing him to have been seven or eight years old when he saw this interlude, the exhibition must have been in 1571 or 1572.

I am unable to ascertain when the first Morality appeared, but incline to think not sooner than the reign of King Edward the Fourth (1460). The publick pageants of the reign of King Henry the Sixth were uncommonly splendid; and being then first enlivened by the introduction of speaking allegorical personages properly and characteristically habited, they naturally led the way to those personifications by which Moralities were distinguished from the simpler religious dramas called

3 Mount Tabor, &c. 8vo. 1659. pp. 110, et seq. With this eurious extract I was favoured, several years ago, by the Rev. Mr. Bowle of Idmiston near Salisbury.

See Warton's History of English Poetry, Vol. II. p. 199.