and at last succeeded in excluding these exhibitions from consecrated places. After dwindling down by degrees, these plays lingered in the booths at fairs or on market-days, the Church having resigned them to the guilds of different trades, and these, in the end, giving them up to the mountebank. And so they died. Their history is the outward and visible sign of a popular intellectual condition in process of passing away. [Sidenote: Moral plays, their character.] The mystery and miracle plays were succeeded by the moral play. It has been thought by some, who have studied the history of the English theatre, that these plays were the result of the Reformation, with the activity of which movement their popularity was coincident. But perhaps the reader who is impressed with the principle of that definite order of social advancement so frequently referred to in this book, will agree with me that this relation of cause and effect can hardly be sustained, and that devotional exercises and popular recreations are in common affected by antecedent conditions. Of the moral play, a very characteristic example still remains under the title of "Everyman," It often delineates personification and allegory with very considerable power. This short phase of our theatrical career deserves a far closer attention than it has hitherto obtained, for it has left an indelible impression on our literature. I think that it is to this, in its declining days, that we are indebted for much of the machinery of Bunyan's "Pilgrim's Progress." Whoever will compare that work with such plays as "Everyman" and "Lusty Juventus," cannot fail to be struck with their resemblances. Such personages as "Good Council," "Abominable Living," "Hypocrasie," in the play, are of the same family as those in the Progress. The stout Protestantism of both is at once edifying and amusing. An utter contempt for "holy stocks and holy stones, holy clouts and holy bones," as the play has it, animates them all. And it can hardly be doubted that the immortal tinker, in the carnal days when he played at tipcat and romped with the girls on the village green at Elstow, indulged himself in the edification of witnessing these dramatic representations. [Sidenote: Real plays, Shakespeare.] As to the passage from this dramatic phase to the real, in which the character and actions of man are portrayed, to the exclusion or with the subordination of the supernatural, it is only necessary to allude with brevity--indeed, it is only necessary to recall one name, and that one name is Shakespeare. He stands, in his relations to English literature, in the same position that the great Greek sculptors stood with respect to ancient art, embodying conceptions of humanity in its various attributes with indescribable skill, and with an exquisite agreement to nature.