The old Christmas play of "Saint George and the Dragon" is still amongst the most popular amusements of this season, in many parts of England. Whether this particular kind of performance is to be considered as dating from the return of the Crusaders, or that similar representations had existed previously, the characters of which alone were changed by that event, does not appear from any other remains that have reached us. There is evidence, however, that plays founded upon the legend of Saint George are of a very remote date; and, in all probability, they were introduced not long after the age of the Crusades. From various contributors to Mr. Hone's "Every-Day Book," we learn that versions of these plays are still performed amongst the lower orders at the Christmas tide, in the extreme western counties of England, as also in Cumberland, and some others of the more northern ones; and one of those correspondents, dating from Falkirk, gives an account of a play still performed by the Guisars, in some parts of Scotland, which is of similar construction and evidently borrowed from the same source, but in which one Galgacus is substituted for Saint George, as the hero of the piece; and the drama is made by that substitution to commemorate the successful battle of the Grampians, by the Scots under that leader, against the invader, Agricola. If Mr. Reddock be right in this opinion, Agricola is for the nonce elevated to the title of king of Macedon. The party who carries the bag for these mummers is a very questionable trustee, being no other than Judas Iscariot. Sir Walter Scott, in his notes to "Marmion," speaks of the same play as one in which he and his companions were in the habit of taking parts, when boys; and mentions the characters of the old Scripture-plays having got mixed up with it in the version familiar to him. He enumerates Saint Peter, who carried the keys; Saint Paul, who was armed with a sword; and Judas, who had the bag for contributions; and says that he believes there was also a Saint George. It is not unlikely there might, though he is not mentioned by Mr. Reddock, for the confusion of characters in all these versions is very great. In the Whitehaven edition, Saint George is son to the king of Egypt, and the hero who carries all before him is Alexander. He conquers Saint George and kills the king of Egypt. In fact the legend, as it exists in the old romance of "Sir Bevys of Hampton," has everywhere been mixed up with extraneous matter, and scarcely any two sets of performers render it alike. The plot seems, in all, to be pretty nearly the same; and the doctor, with his marvellous cures and empirical gibberish, seems to be common to them all. "But so little," says Sandys, "do the actors know the history of their own drama, that sometimes General Wolfe is introduced, who first fights Saint George, and then sings a song about his own death. I have also seen the Duke of Wellington represented." Mr.