The day when the priests, still the actors of the play, walked down the nave and issued from the great western door of the cathedral, to continue the dramatic representations under the open sky, was truly a memorable one in dramatic history. The first instinct was not that of secularization, but rather the desire for freer opportunity to enact the sacred stories; a larger stage, more scope for dramatic action. Yet, although for generations the play remained religious in subject-matter and intent, it was inevitable that in time it should come to realize that its function was to body forth human life, unbounded by Bible themes: all that can happen to human beings on earth and between heaven and hell and beyond them, being fit material for treatment, since all the world's a stage, and flesh and blood of more vital interest to humanity at large than aught else. The rapid humanization of the religious material can be easily traced in the coarse satire and broad humor introduced into the Bible narratives: a free and easy handling of sacred scene and character natural to a more naive time and by no means implying irreverence. Thus, in the Noah story, Mrs. Noah becomes a stout shrew whose unwillingness to come in out of the wet and bestow herself in dry quarters in the Ark must have been hugely enjoyed by the fifteenth century populace. And the Vice of the morality play degenerates into the clown of the performance, while even the Devil himself is made a cause for laughter. Another significant step in the advance of the drama was made when the crafts took over the representations; for it democratized the show, without cheapening it or losing sight of its instructional nature. When the booths, or pageants as they were called, drew up at the crossing of the ways and performed their part in some story of didactic purport and broadly human, hearty, English atmosphere, with an outdoor flavor and decorative features of masque and pageantry, the spectators saw the prototype of the historic pageants which just now are coming again into favor. The drama of the future was shaping in a matrix which was the best possible to assure a long life, under popular, natural conditions. These conditions were to be modified and distorted by other, later additions from the cultural influence of the past and under the domination of literary traditions; but here was the original mold.