The Growth of English Drama

nting the real celestial St. Nicholas suddenly appears, perhaps from behind a curtain at the rear of the image, and seeks out the thieves. He threatens them with exposure and torment unless they restore their plunder; they give in; and St. Nicholas goes back to his concealment. When the barbarian returns, his delight is naturally very great at perceiving so complete an atonement for the saint's initial oversight. Indeed his appreciation is so genuine that it only needs a few words from the reappearing Saint to persuade him to accept Christianity.--Monologue and dialogue are throughout in song. The following is one of the three verses in which the barbarian proclaims his loss; the last two lines in the vernacular are the same for all.

Gravis sors et dura! Hic reliqui plura, Sed sub mala cura. Des! quel dommage! Qui pert la sue chose purque n'enrage.

A play of this sort, dealing with the wonder-working of a Saint, became known as a Miracle Play, to differentiate it from the Mystery Plays based on