Nor must we overlook another means which operated very extensively in alienating the public mind {33} from the established religion. Those who have investigated the causes which led to the Reformation on the continent, have ascribed a considerable share of influence to the writings of the poets and satirists of the age. Poetry has charms for persons of every description; and in return for the pleasure which it affords them, mankind have in all ages been disposed to allow a greater liberty to poets than to any other class of writers. Strange as it may appear, the poets who flourished before the Reformation used very great freedom with the church, and there were not wanting many persons of exalted rank who encouraged them in this species of composition. The same individuals who were ready, at the call of the pope and clergy, to undertake a crusade for extirpating heresy, entertained poets who inveighed against the abuses of the court of Rome, and lampooned the religious orders. One day they assisted at an _auto‑da‑fe_, in which heretics were committed to the flames for the preservation of the catholic church; next day they were present at the acting of a pantomime or a play, in which the ministers of that church were held up to ridicule. Intoxicated with power, and lulled asleep by indolence, the clergy had either overlooked these attacks, or treated them with contempt; it was only from experience that they learned their injurious tendency; and before they made the discovery, the practice had become so common that it could no longer be restrained. This weapon was wielded with much success by the friends of the Reformed doctrine in Scotland. Some of their number had acquired {34} great celebrity among their countrymen as poets; and others, who could not lay claim to high poetical merit, possessed a talent for wit and humour. They employed themselves in writing satires, in which the ignorance, the negligence, and the immorality, of the clergy were stigmatized, and the absurdities and superstitions of the popish religion exposed to ridicule. These poetical effusions were easily committed to memory, and were circulated without the intervention of the press, which was at that time entirely under the control of the bishops. An attack still more bold was made upon the church. Dramatic compositions, partly written in the same strain, were repeatedly acted in the presence of the royal family, the nobility, and vast assemblies of people, to the great mortification, and the still greater disadvantage, of the clergy. The bishops repeatedly procured the enactment of laws against the circulation of seditious rhymes, and blasphemous ballads; but metrical epistles, moralities, and psalms, in the Scottish language, continued to be read with avidity, notwithstanding prohibitory statutes and legal prosecutions.[50]