PROFESSIONAL INSTITUTION'S. 443 



"Sometimes mythological scenes were performed in the arena with 

 cruel accuracy. Condemned criminals had to mount the pyre like Her- 

 cules, or to give their hand to the flames like Mucius Scaevola, or to be cru- 

 cified like Laureolus the robber; others were torn by bears, in imitation of 

 the fate of Orpheus." 



Having usually been an alien and possessing no odor of sanctity 

 derived from his traditional religious function, 



The actor u was ranked with slaves and barbarians ... he generally 

 was a slave or freedman, or a native of some country where his profession 

 was more esteemed, such as the Greek colonies and the East generally." 



Little as one might have expected it, we find that the pagan 

 genesis of the drama was paralleled by the Christian regenesis 

 of it in mediseval Europe. It commenced, as in India, Greece, 

 and Rome, with representations of sacred subjects by priestly 

 actors. Incidents in the life of the god were dramatically repeated 

 in edifices devoted to his worship. 



u The circumstance that the ritual was carried on in Latin naturally led to 

 its being supplemented on pai'ticular occasions with sacred scenes or lessons 

 acted to the ignorant." 



" Thus the raison d'etre of the mysteries and miracle plays was to act 

 stories from Scripture or the lives of Saints, or embodying central doctrines 

 such as the incarnation, for the benefit of a populace unable to read for 

 themselves." 



But there are confused evidences and conflicting opinions respect- 

 ing dramatic representations in early Christian days secular and 

 sacred origins appearing to be mingled. We read that " some- 

 times when a sufficient number of clerical actors were not to be 

 procured, the churchwardens . . . caused the plays to be acted by 

 secular players." And in the same work we also read that " com- 

 plaint [to Richard II] is made against the secular actors, because 

 they took upon themselves to act plays composed from scripture 

 history, to the great prejudice of the clergy." But in another 

 passage the writer, Strutt, says that these acted mysteries " differed 

 greatly from the secular plays and interludes which were acted 

 by strolling companies, composed of minstrels, jugglers, tumblers, 

 dancers, bourdours or jesters . . . these pastimes are of higher an- 

 tiquity than the ecclesiastical plays." Not improbably such com- 

 panies may have survived from pagan times, in which their 

 representations formed part of the pagan worship: losing their 

 original meanings, as did the songs of the minstrels. This view 

 seems congruous with the opinion that the secular drama did not 

 arise by direct descent from the mystery-plays, but that, influ- 

 enced by the familiarity of its writers both with them and with 

 the popular exhibitions, it took its definite form mainly by sug- 

 gestion of the classic drama : a supposition favored by the fact 

 that in various Elizabethan plays a chorus is introduced. Be this 



