In addition to the above, there is evidence of its survival among the rustic population of Germany. Brand enumerates many curious practices of the carnival just before Ash Wednesday, and even on that day, after the distribution of the ashes. Young maidens in Germany were carried “in a cart or tumbrel” by the youths of the village to the nearest brook or pond, and there thoroughly ducked, the drawers of the cart throwing dust and ashes on all near them. In Oxfordshire it was the custom for bands of boys to stroll from house to house singing and demanding largess of eggs and bacon, not receiving which, “they commonly cut the latch of the door or stop the key-hole with dirt” (“Popular Antiquities,” London, 1872, vol. i. pp. 94 _et seq._, article “Ash Wednesday”), “or leave some more nasty token of displeasure” (idem). This may have been a survival from the Feast of Fools. Brand refers to Hospinian, “De Origine Festorum Christianorum,” “for several curious customs and ceremonies observed abroad during the three first days of the Quinquagesima week” (p. 99). Turning from the Teutonic race to the Slav, we find that the Feast of Fools seems still to linger among the Russian peasantry. “At one time a custom prevailed of going about from one friend’s house to another masked, and committing every conceivable prank. Then the people feasted on blinnies,—a pancake similar to the English crumpet” (“A Hoosier in Russia,” Perry S. Heath, New York, 1888, p. 109); all this at Christmas-tide. Something very much like it, without any obscene features, was noted by Blunt in the early years of the present century. See his “Vestiges,” p. 119. Hone (“Ancient Mysteries Described,” London, 1823, pp. 148 _et seq._) thinks that a Jewish imitation of the Greek drama of the close of the second century, whose plot, characters, etc., were taken from the Exodus, was the first miracle play. The author was one Ezekiel, who was believed to have written it with a patriotic purpose after the destruction of Jerusalem. The early Fathers—Cyril, Tertullian, Cyprian, Basil, Clemens Alexandrinus, and Augustine—inveighed against sacred dramas; but the outside pressure was too great, and the Church was forced to yield to popular demand. As late as the fifteenth century Pius II. said that the Italian priests had probably never read the New Testament; and Robert Stephens made the same charge against the doctors of the Sorbonne in the same age. The necessity of dramatic representation would therefore soon outweigh objections made on the score of historical anachronism or doctrinal inaccuracy in these miracle plays.