Though many of the early German plays contain an element of the moralities, there were few representative German examples of the species. The academical instinct, or some other influence, kept the more elaborate productions on the whole apart from the drolleries of the professional strollers (_fahrende Leute_), whose Shrove-Tuesday plays (_Fastnachtsspiele_) and cognate productions reproduced the practical fun of common life. Occasionally, no doubt, as in the Lübeck _Fastnachtsspiel_ of the Five Virtues, the two species may have more or less closely approached to one another. When, in the course of the 15th century, Hans Rosenplüt, called Schnepperer--or Hans Schnepperer, called Rosenplüt--the predecessor of Hans Sachs, first gave a more enduring form to the popular Shrove-Tuesday plays, a connexion was already establishing itself between the dramatic amusements of the people and the literary efforts of the "master-singers" of the towns. But, while the main productivity of the writers of moralities and cognate productions--a species particularly suited to German latitudes--falls into the periods of Renaissance and Reformation, the religious drama proper survived far beyond either in Catholic Germany, and, in fact, was not suppressed in Bavaria and Tirol till the end of the 18th century.[3] Sweden, Carpathian lands, &c. It may be added that the performance of miracle-plays is traceable in Sweden in the latter half of the 14th century; and that the German clerks and laymen who immigrated into the Carpathian lands, and into Galicia in particular, in the later middle ages, brought with them their religious plays together with other elements of culture. This fact is the more striking, inasmuch as, though Czech Easter plays were performed about the end of the 14th century, we hear of none among the Magyars, or among their neighbours of the Eastern empire. Religious drama in England. Cornish miracle-plays.