The evidence produced by Mr Chambers shows, therefore, that convenience, and not clerical censure, was the prime cause at work in removing the players from the churches. The demand for ejection was afterwards reinforced by the Reformers, but by that time the result was being otherwise brought about. It now becomes still more intelligible why plays on the green were, at one period, actually denounced. The natural home of the play was the church, and in the church it lingered. “Quite apart from the survival of ritual plays proper, the miracle play, even at the moment of its extinction, had not always and everywhere been excluded from the church itself[429].” Mr Chambers gives numerous examples, and avers that the last of all the village plays--he is evidently referring to annual institutions--that of Hascombe, Surrey, in 1539, “was at, but perhaps not in, the church[430].” A few years later, Bonner forbade the presentation of plays either in the church or churchyard[431]. This edict does not seem to have been fully obeyed, for Dr J. C. Cox declares that both in pre-Reformation and post-Reformation times the authorities occasionally suffered secular country dramas and rude historic scenes to be represented in the nave of the church[432]. Nor is this all; in the sixteenth century Bishop John Bale endeavoured to counteract the miracle plays by Protestant dramas, conceived in much the same style as the genuine works (A.D. 1538, etc.). The unintentional hardihood of some of Bale’s impersonations is said to have bordered on blasphemy. This is one view of the matter; allowance must be made for an important fact, noted by Mr A. W. Pollard, namely, that Bale wrote as an antiquary, not as a controversialist[433]. Lest anyone should demur to this narrative of the miracle [Illustration: FIG. 48. Morris dancers, from 14th century MS. in the Bodleian Library (Strutt).]