Then, again, the most famous of Purim parodies preceded the Ghetto period. The official Ghetto begins with the opening of the sixteenth century, whereas the best parodies belong to a much earlier date, the fourteenth century. Such parodies, in which sacred things are the subject of harmless jest, are purely medieval in spirit, as well as in date. Exaggerated praises of wine were a foil to the sobriety of the Jew, the fun consisting in this conscious exaggeration. The medieval Jew, be it remembered, drew no severe line between sacred and profane. All life was to him equally holy, equally secular. So it is not strange that we find included in sacred Hebrew hymnologies wine-songs for Purim and Chanukah and other Synagogue feasts, and these songs are at least as old as the early part of the twelfth century. For Purim, many Synagogue liturgies contain serious additions for each of the eighteen benedictions of the Amidah prayer, and equally serious paraphrases of Esther, some of them in Aramaic, abound among the Genizah fragments in Cambridge. Besides these, however, are many harmlessly humorous jingles and rhymes which were sung in the synagogue, admittedly for the amusement of the children, and for the child-hearts of adult growth. For them, too, the Midrash had played round Haman, reviling him, poking fun at him, covering him with ridicule rather than execration. It is true that the earliest ritual reference to the wearing of masks on Purim dates from the year 1508, just within the Ghetto period. But this omission of earlier reference is surely an accident, In the Babylonian Sacaea, cited above, a feature of the revel was that men and women disguised themselves, a slave dressed up as king, while servants personated masters, and vice versa. All these elements of carnival exhilaration are much earlier than the Middle Ages. Ghetto days, however, originated, perhaps, the stamping of feet, clapping of hands, clashing of mallets, and smashing of earthenware pots, to punctuate certain passages of the Esther story and of the subsequent benediction. My strongest point concerns what, beyond all other delights, has been regarded as the characteristic amusement of the festival, viz. the Purim play. We not only possess absolutely no evidence that Purim plays were performed in the Ghettos till the beginning of the eighteenth century, when the end of the Ghettos was almost within sight, but the extant references imply that they were then a novelty. Plays on the subject of Esther were very common in medieval Europe during earlier centuries, but these plays were written by Christians, not by Jews, and were performed by monks, not by Rabbis. Strange as it may seem, it is none the less the fact that the Purim play belongs to the most recent of the Purim amusements, and that its life has been short and, on the whole, inglorious.