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Of the rise and progress of the Drama in England, my limits will permit only a brief sketch, not more than enough to give a general idea on the subject.

In England, as in the other Christian nations where it had any thing of originality, the Drama was of ecclesiastical origin, and for a long time was used only as a means of diffusing a knowledge of the leading facts and doctrines of Christianity as then understood and received.  Of course, therefore, it was in substance and character religious, or was meant to be so, and had the Clergy for its authors and founders.  But I cannot admit the justice of Coleridge’s remark on the subject.  “The Drama,” says he, “recommenced in England, as it first began in Greece, in religion.  The people were unable 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.”

Surely, it is of consequence to bear in mind that at that time “the people” had never been able to read; printing had not been heard of in Europe; books were multiplied with great difficulty, and could not be had but at great expense:  so that it was impossible the people should be able to read; and while there was an impossibility in the way, it is not necessary to impute an unwillingness.  Nor is there any good reason for supposing that the Priesthood, in their simplicity of faith, were then at all apprehensive or aware of any danger in the people being able to read.  Probably they worked as honest men with the best means they could devise; endeavouring to clothe the most needful of all instruction in such forms, and mould it up with such arts of recreation and pleasure, as might render it interesting and attractive to the popular mind.  In all which they seem to have merited any thing but an impeachment of their motives.  However, the point best worth noting here is the large share those early dramatic representations had in shaping the culture of Old England, and in giving to the national mind its character and form.  And perhaps later ages, and ourselves as the children of a later age, are more indebted to those rude labours of the Clergy in the cause of religion than we are aware, or might be willing to acknowledge.

MIRACLE-PLAYS.

In its course through several ages the Drama took different forms from time to time, as culture advanced.  The earliest form was in what are called Plays of Miracles, or Miracle-Plays.  These were mostly founded on events of Scripture, though the apocryphal gospels and legends of saints and martyrs were sometimes drawn upon for subjects or for embellishments.  In these performances no regard was paid to the rules of natural probability; for, as the operation of supernatural power was assumed, this was held a sufficient ground or principle of credibility in itself.  Hence, indeed, the name Marvels, Miracles, or Miracle-Plays, by which they were commonly known.