To some nameless chronicler we owe a knowledge of the fact that Shakespeare’s ‘Hamlet’ was played on board ship, in Shakespeare’s time, by sailors. Why was this left unnoticed when the royal captain of the _Galatea_ took the chair at the last Theatrical Fund dinner? But for the chroniclers we should be ignorant that, just six hundred years ago, the Chester mysteries and passion-plays were at their highest point of attraction. Indeed, they could never have been unattractive; for all those who undertook to witness the performance during about a month’s season were promised to be relieved from hundreds of years of the fire of purgatory. What a delicious feeling to the earnest play-goer, that the more regularly he went to the play on these occasions, the more pleasantly he would work out his salvation! The different dramatic scenes were represented by the best actors in the Chester trading companies. One would like to know on what principle the distribution of parts was made by the manager. Why should the Tanners have been chosen to play the ‘Fall of Lucifer’? What virtue was there in the Blacksmiths, that they should be especially appointed to enact ‘The Purification’? or, in the Butchers, that they should represent ‘The Temptation’? or, in the Bakers, that they should be deemed the fittest persons to illustrate ‘The Last Supper’? One can understand the Cooks being selected for ‘The Descent into Hell,’ because they were accustomed to stand fire; but what of angelical or evangelical could be found exclusively in the Tailors, that they should be cast for ‘The Ascension’? Were the Skinners, whose mission it was to play ‘The Resurrection,’ not deemed worthy of going higher? Or, were the Tailors lighter men, and more likely to rise with alacrity? We are inclined to think that the idea of plays being naughty things and players more than naughty persons in the early days is a vulgar error. Plays must have been highly esteemed by the authorities, or Manningtree in Essex (and probably many another place) would not have enjoyed its privilege of holding a fair by tenure of exhibiting a certain number of stage plays annually. There was undoubtedly something Aristophanic in many of the early plays. There was sharp satire, and sensitive ribs which shrank from the point of it. When the Cambridge University preachers satirised the Cambridge town morals the burgesses took the matter quietly; but when the Cambridge University players (students) caricatured the town manners in 1601, exaggerating their defects on the University stage, there was much indignation.