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 it to the people at the door of the church, and to the rich in the interior of the church itself. Every one contributed his money, presence, provisions, and mirth to the festival; the joy of good works was augmented by the pleasures of good cheer, and the piety of the rich rejoiced to exceed, by their gifts, the price demanded. It often happened that several parishes united to hold the Church-ale by turns for the profit of each. The ordinary games followed these meetings; the minstrel, the morris-dance, and the performance of Robin Hood, with Maid Marian and the Hobby-horse, were never absent. The seasons of confession, Easter and Whitsuntide, also furnished the Church and the people with periodical opportunities for common rejoicings. Thus familiar with the popular manners, the English clergy, when offering new pleasures to the people, thought less of modifying them than of turning them to account; and when they perceived the fondness of the people for dramatic performances, whatever the subject might be, they had no idea of renouncing so powerful a means of gaining popularity. In 1878, the choristers of St. Paul’s complained to Richard II. that certain ignorant fellows had presumed to perform histories from the Old Testament, “to the great prejudice of the clergy.” After this period, the Mysteries and Moralities never ceased to be, both in churches and convents, a favorite amusement of the nation, and a leading occupation of the ecclesiastics. At the beginning of the sixteenth century, an Earl of Northumberland, who was a great protector of literature, established, as a rule of his household, that the sole business of one of his chaplains should be to compose interludes. Toward the end of his reign, Henry VIII. forbade the Church to continue these performances, which, in the wavering state of his belief, were displeasing to the king,