_Years he counted scarce thirteen, When fates turn'd cruel, Yet three fill'd zodiacs he had been The stage's jewel; And did act (what now we moan) Old men so duly, As, sooth, the Parcæ thought him one, He play'd so truly._
Some of these chapel-boys, when they grew men, became actors at the Blackfriars; such were Nathan. Field[84] and John Underwood. Now I can hardly imagine that such plays and players as these are included in the severe censure of the councils and fathers; but such only who are truly within the character given by Didacus de Tapia, cited by Mr Collier, p. 276, viz., _The infamous playhouse; a place of contradiction to the strictness and sobriety of religion; a place hated by God, and haunted by the devil_. And for such I have as great an abhorrence as any man.
+Love.+ Can you guess of what antiquity the representing of religious matters on the stage hath been in England?
+True.+ How long before the Conquest, I know not, but that it was used in London not long after, appears by Fitz-Stephen, an author who wrote in the reign of King Henry the Second.[85] His words are, _Londonia pro spectaculis theatralibus, pro ludis scenicis, ludos habet sanctiores, representationes miraculorum, quæ sancti confessores operati sunt, seu repræsentationes passionum quibus claruit constantia martyrum._ Of this the manuscript which I lately mentioned, in the Cottonian library, is a notable instance. Sir William Dugdale cites this manuscript by the title of _Ludus Coventriæ_; but in the printed Catalogue of that library, p. 113, it is named thus, A Collection of Plays in Old English Metre; h. e. _Dramata sacra, in quibus exhibentur historiæ Veteris et N. Testamenti, introductis quasi in scenam personis illic memoratis, quas secum invicem colloquentes pro ingenio fingit poeta. Videntur olim coram populo, sive ad instruendum, sive ad placendum, a fratribus mendicantibus repræsentata_. It appears by the latter end of the prologue, that these plays or interludes were not only played at Coventry, but in the other towns and places upon occasion. And possibly this may be the same play which Stow tells us was played in the reign of King Henry IV., which lasted for eight days. The book seems by the character and language to be at least 300 years old. It begins with a general prologue, giving the arguments of 40 pageants or gesticulations (which were as so many several acts or scenes) representing all the histories of both testaments, from the creation to the choosing of St _Matthias_ to be an apostle. The stories of the New Testament are more largely expressed, viz., the Annunciation, Nativity, Visitation; but more especially all matters relating to the Passion, very particularly, the Resurrection, Ascension, the Choice of St _Matthias_. After which is also represented the Assumption, and Last Judgment. All these things were treated of in a very homely style, as we now think, infinitely below the dignity of the subject; but it seems the _goût_ of that age was not so nice and delicate in these matters; the plain and incurious judgment of our ancestors being prepared with favour, and taking everything by the right and easiest handle. For example, in the scene relating to the Visitation: