The transition from the morality to the regular drama in England was effected, on the one hand, by the intermixture of historical personages with abstractions--as in Bishop Bale's _Kyng Johan_ (c. 1548)--which easily led over to the _chronicle history_; on the other, by the introduction of types of real life by the side of abstract figures. This latter tendency, of which instances occur in earlier plays, is observable in several of the 16th-century moralities;[10] but before most of these were written, a further step in advance had been taken by a man of genius, John Heywood (b. c. 1500, d. between 1577 and 1587), whose "interludes"[11] were short farces in the French manner. The term "interludes" was by no means new, but had been applied by friend and foe to religious plays, and plays (including moralities) in general, already in the 14th century. But it conveniently serves to designate a species which marks a distinct stage in the history of the modern drama. Heywood's interludes dealt entirely with real--very real--men and women. Orthodox and conservative, he had at the same time a keen eye for the vices as well as the follies of his age, and not the least for those of the clerical profession. Other writers, such as T. Ingeland,[12] took the same direction; and the allegory of abstractions was thus undermined on the stage, very much as in didactic literature the ground had been cut from under its feet by the _Ship of Fooles_. Thus the interludes facilitated the advent of comedy, without having superseded the earlier form. Both moralities and miracle-plays survived into the Elizabethan age after the regular drama had already begun its course. Pageants.