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A few observations are necessary as
to its feeble beginnings. The old Greek drama indeed existed as a model,
especially in the tragedies of Euripides and the comedies of Aristophanes;
but until the fall of Constantinople, these were a dead letter to Western
Europe, and when the study of Greek was begun in England, they were only
open to men of the highest education and culture; whereas the drama
designed for the people was to cater in its earlier forms to the rude
tastes and love of the marvellous which are characteristic of an
unlettered people. And, besides, the Roman drama of Plautus and of Terence
was not suited to the comprehension of the multitude, in its form and its
preservation of the unities. To gratify the taste for shows and
excitement, the people already had the high ritual of the Church, but they
demanded something more: the Church itself acceded to this demand, and
dramatized Scripture at once for their amusement and instruction. Thus the
_mysteria_ or _miracle play_ originated, and served a double purpose.


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