In the early drama the Clown was a personage of no mean importance and whose duty was to preserve the stage from vacancy by amusing the audience with extemporary buffoonery, and also at the end of the performance. And, as Heywood, in his "History of Women" (1624), says "By his mimic gestures to breed in the less capable mirth and laughter." On these occasions, it was usual to descant, in a humourous style, on various subjects proposed to him by the spectators; but they were more commonly entertained with what was termed a jig: this was a ludicrous composition in rhyme, sung by the Clown, accompanied by his pipe and tabor. In these jigs there were sometimes more actors than one, and the most unbounded license of tongue was allowed; the pith of the matter being usually some scurrilous exposure of persons among, or well known to the audience. Here again history repeats itself in this once more, and in imitation of the satirical interludes of the Grecian stage and the _Atellans_ and _Mimis_ of the Roman theatres. The practice of putting the fools and Clowns in requisition between the acts and scenes (observes Francis Douce), and after the play was finished, to amuse the spectators with their tricks, may be traced to the Greek and Roman theatres; and their usages being preserved in the middle ages, wherever the Roman influence had spread, it would not, of course, be peculiar to England. The records of the French theatre demonstrate this fact; in the "Mystery of Saint Barbara," we find this stage direction:--_Pausa. Vadunt, et stultus loquitur._ (A pause. They quit the stage, and the fool speaks). And in this way he is frequently brought on between the scenes.