Though we must refrain from description, we cannot forbear mention of a few survivals of the moral interlude, which, though themselves rudimentary, were not without esteem even in an age when the drama, by combination and adaptation of its possibilities, was producing other results infinitely superior to the older strain. These functionless survivals of the moral were the following, all controversial: _Newe Custome_, an anti-papist play, perhaps written as early as 1550-53; _Albyon Knight_, a political fragment acted between 1560 and 1565; _Kyng Daryus_, a peculiarly insipid disputation, evidently anti-papist, printed in 1565; and _The Conflict of Conscience_, a doctrinal drama by Nathaniel Woodes, Minister in Norwich, which presents a mixture of individual and even historical characters with abstractions, stands midway between the allegorical interlude and the drama of concrete experience, displays a commendable realism in spots, and is a more virile production than the others of this group. It was not published till 1581, but was probably written soon after 1563. Of the decadent stock of morals and interludes, there were, however, some specimens between the years 1553 and 1578 that exhibited an advance in quality, if not in kind. Three of these, _The Longer thou Livest_, _All for Money_, and _Tide Taryeth no Man_, Mr. Fleay[85] lumps together as simple instances of the survival of the older 'morality' after the introduction of tragedy and comedy on the models of Seneca and Plautus, and makes the further statement that none of them teaches us anything as to the historical development of the drama in England. With the utmost respect for the knowledge of this most helpful historian, I must say that, as a matter of judgment, none of these dramas, least of all, _Longer thou Livest_, should be classed with the moral plays of mere survival. While the authors of these and similar specimens did not produce a new kind, they did more than repeat the old. They revived and enriched the moral interlude by infusion of new strains, and so produced, by culture, a most interesting group of what may be called variations of the moral. To this class of morals belong also the _Triall of Treasure_, _Like wil to Like_, and the _Life and Repentaunce of Marie Magdalene_. It must be said also that a few moral tragedies of the period, like R. B.'s _Apius and Virginia_ (about 1563, pr. 1575), and Preston's _King Cambises_ (S. R. 1569-70), have some claim to belong to this group, and that if there were space they should receive attention for their vital dramatic quality and their development of the character of the Vice. The Hap-hazard of the former, far from being, as Dr. Ward has said, "redundant to the action," suggests the "conspiracies" which Apius adopts, and is the heart of rascality and fun; he is consequently a Vice of the old type; but he is also the representative (in accordance with his name and