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Rh different acts of "Ferrex and Porrex," the "Misfortunes of Arthur," and other old tragedies, but the puppets are not represented as speaking among themselves. Ben Jonson may always be relied on in matters relating to the customs and amusements of our ancestors, as he was a very minute observer of them; and from his evidence, we may infer, that there were, at least, two varieties in the puppet-plays of his time, one with the dialogue, as in "Bartholomew Fair;" and the other without it, but with a descriptive accompaniment, as in the "Tale of a Tub."

It is evident, from many passages in our old writers that might be adduced if necessary, that "motions" were very popular with the lower orders; they frequently rivalled and imitated the performers on the regular stages. Hence, perhaps, a portion of the abuse with which they were commonly assailed by some of our dramatic poets, who were of course anxious to bring them as much as possible into contempt. It is established, on the authority of Dekker, and other pamphleteers and play-writers of about the same period, that the subjects of the "villanous motions" were often borrowed from the most successful dramatic entertainments. Shakspeare's "Julius Cæsar," was performed by mammets, (another term in use for the wooden representatives of heroes,) as well as the "Duke of Guise," a name that was perhaps given to Marlow's "Massacre of Paris, " or it may refer to a tragedy by Webster under