de Douhet, _Dictionnaire des Mystères_ (1854). Only fragments of C. Magnin’s investigations are available in the _Journal des Savants_ (1846-7) and the _Journal général de l’Instruction publique_ (1834-6). Texts are in A. Jubinal, _Mystères du 15ᵉ siècle_ (1837); Monmerqué et Michel, _Théâtre français au moyen âge_ (1842); E. Fournier, _Le Théâtre français avant la Renaissance_ (1872), and the series published by the _Société des Anciens Textes français_. The most recent text of _Adam_ is that by K. Grass, _Das Adamsspiel_ (1891). M. Wilmotte, _Les Passions allemandes du Rhin dans leur Rapport avec l’ancien Théâtre français_ (1898), deals with the interrelations of the French and German texts. C. Hastings, _Le Théâtre français et anglais_ (1900, trans. 1901), is a compilation of little merit.—For Italy there is A. D’Ancona, _Origini del Teatro italiano_ (2nd ed. 1891), with texts in the same writer’s _Sacre Rappresentazioni_ (1872), in Monaci, _Appunti per la Storia del Teatro italiano_ (_Rivista di Filologia Romana_, vols. i, ii), and in F. Torraca, _Il Teatro italiano dei Secoli xiii, xiv, e xv_ (1885).—For Spain, A. F. von Schack, _Geschichte der dramatischen Litteratur und Kunst in Spanien_ (1845-54), and G. Baist, _Spanische Litteratur_, §§ 19, 63, in Gröber’s _Grundriss_, vol. ii (1897).—For the minor Romance dramatic literatures, Provençal, Catalan, Portuguese, I must be content to refer to the last-named authority, and for that of Holland to the similar _Grundriss_ of H. Paul.] The evolution of the liturgic play described in the last two chapters may be fairly held to have been complete about the middle of the thirteenth century. The condition of any further advance was that the play should cease to be liturgic. The following hundred years are a transition period. During their course the newly-shaped drama underwent a process which, within the limits imposed by the fact that its subject-matter remained essentially religious, may be called secularization. Already, when Hilarius could write plays to serve indifferently for use at Matins or at Vespers, the primitive relation of _repraesentatio_ to liturgy had been sensibly weakened. By the middle of the fourteenth century it was a mere survival. From ecclesiastical the drama had become popular. Out of the hands of the clergy in their naves and choirs, it had passed to those of the laity in their market-places and guild-halls. And to this formal change corresponded a spiritual or literary one, in the reaction of the temper of the folk upon the handling of the plays, the broadening of their human as distinct from their religious aspect. In their origin _officia_ for devotion and edification, they came, by an irony familiar to the psychologist, to be primarily _spectacula_ for mirth, wonder, and delight.