Here then is drama in its infancy. A great stride has been taken from the first crude burying of a crucifix to an animated union of dialogue and natural action. The scope of the Mystery (for so these representations were called) has been extended from a single incident to a series of closely connected scenes. In its fullest ecclesiastical form it consisted of five Epiphany Plays, of the Shepherds (or _Pastores_), the Magi (or _Stella_ or _Tres Reges_), the Resurrection (or _Quem quaeritis_), the Disciples of Emmaus (or _Peregrini_), and the Prophets (or _Prophetae_), the last perhaps intended as a final proof from the Old Testament of Christ's Messianic nature. Four points, however, deserve to be noted. The language used is always Latin. The subject is always taken from the Bible. Close correspondence is maintained with the actual words of the _Vulgate_ (compare the Magdalene dialogue with John xx. 13-17). The Mystery is performed in a church. Each point, it will be observed, imposes a serious limitation. There was one play, however, which broke loose from most of these limitations, a play of _St. Nicholas_, written by one Hilarius early in the twelfth century. The same author composed a Mystery of _Lazarus_, and an elaborate representation of _Daniel_, which must have made large demands on the Church's supply of 'stage properties'. But his _St. Nicholas_ is the only one that interests us here. To begin with, the title informs us that the subject is not drawn from the Bible. The words, therefore, are at the discretion of the author. Further, though the medium is mostly Latin, the native language of the spectators has been slipped in, to render a few recurrent phrases or refrains. The story is quite simple, and humorous, and is as follows: