Beatty—The St. George,, or Mummers’, Plays. 277 
the Prince. In the Warwickshire play, 1 the Turkish Knight 
fights with St. George and is- killed. Father Christmas 
revives him. Again he is killed, and Dr. Brown revives 
him. In one Oxford play, 2 the Dragon enters; they all 
fight, and the Doctor—Old Doctor Ball—revives all hut the 
Dragon, whom he kills. In the other Oxford play, 3 St. George 
alone is wounded. This is also true of the Middlesex play. 4 
In one Dorset play 5 St. Patrick kills Captain Bluster 1 ; St. 
George kills the Gracious King, General Yalentine and Colonel 
Spring; and the Irish Doctor revives all of them. Old Father 
Christmas kills Old Bbt, his wife, and the Doctor revives 
her. In another Dorset play, 6 the hero is King George, and 
he performs equally valiant deeds. In a play of uncertain 
locality, 7 Prince George kills the Dragon and is himself killed 
by the Turkish Knight, Alexander. Then he is revived, and 
kills Alexander. In another, 8 the Dragon is killed and revived. 
In still another 9 King George is killed and revived. 
Whence came this- play? The most obvious answer is that 
of Mr. A. W. Pollard 10 that the influence of the old piSay of 
St. George is traceable. Unfortunately the old play does not 
exist, though Warton 11 says that a miracle play of St. George 
was enacted in a field in 1511. Mr. Chambers shows that a 
play alleged by Collier 12 to- have been given by Henry Y. to 
the Emperor Sigismund was in reality a sotelte, or large cake. 
However, a play on the subject of St. George was written by 
i Folk-Lore, vol. 10, pp. 186 ff. 
25 Notes and Queries, vol. 2, p. 503; Manly, “Specimens,” vol. 1, pp. 
289 ff. 
3 6 Notes and Queries, vol. 12, p, 489. 
4 2 Notes and Queries, vol. 10, p. 466. 
5 Folk-Lore Record, vol. 3, p. 92. 
e Folk-Lore Record, vol. 3, p. 102. 
7 Archaeologist, vol. 1, p. 176. 
s Folk-Lore Record , vol. 3, part 1, pp. 113-114. 
9 Folk-Lore Journal, vol. 4, p. 97. 
10 “English Miracle Plays,” 2d ed., 1895, p. lix, note 2. 
11 “History of English Poetry,” vol. 3. 
12 “Annals of the Stage,” vol. 1, p. 29. 
