taken until 1644 when the Long Parliament decreed the destruction of such May-poles as the municipalities had spared. Naturally this policy was reversed at the Restoration, and a new London pole was erected in the Strand, hard by Somerset House, which endured until 1717[624]. CHAPTER IX THE SWORD-DANCE [_Bibliographical Note._--The books mentioned in the bibliographical note to the last chapter should be consulted on the general tendency to μίμησις in festival dance and song. The symbolical dramatic ceremonies of the _renouveau_ are collected by Dr. J. G. Frazer in _The Golden Bough_. The sword-dance has been the subject of two elaborate studies: K. Müllenhoff, _Ueber den Schwerttanz_, in _Festgaben für Gustav Homeyer_ (1871), iii, with additions in _Zeitschrift für deutsches Alterthum_, xviii. 9, xx. 10; and F. A. Mayer, _Ein deutsches Schwerttanzspiel aus Ungarn_ (with full bibliography), in _Zeitschrift für Völkerpsychologie_ (1889), 204, 416. The best accounts of the morris-dance are in F. Douce, _Illustrations of Shakespeare_ (1807, new ed. 1839), and A. Burton, _Rushbearing_ (1891), 95.] The last two chapters have afforded more than one example of village festival customs ultimately taking shape as drama. But neither the English Robin Hood plays, nor the French _Jeu de Robin et Marion_, can be regarded as folk-drama in the proper sense of the word. They were written not by the folk themselves, but by _trouvères_ or minstrels _for_ the folk; and at a period when the independent evolution of the religious play had already set a model of dramatic composition. Probably the same is true of the Hox Tuesday play in the form in which we may conjecture it to have been presented before Elizabeth late in the sixteenth century. Nevertheless it is possible to trace, apart from minstrel intervention and apart from imitation of miracles, the existence of certain embryonic dramatic tendencies in the village ceremonies themselves. Too much must not be made of these. Jacob Grimm was inclined to find in them the first vague beginnings of the whole of modern drama[625]. This is demonstrably wrong. Modern drama arose, by a fairly well defined line of evolution, from a threefold source, the ecclesiastical liturgy, the farce of the mimes, the classical revivals of humanism. Folk-drama contributed but the tiniest rill to the mighty stream. Such as it was, however, a couple of further chapters may be not unprofitably spent in its analysis.