very interesting if the Society would see its way to publishing a collected edition of all the texts hitherto printed, together with any more versions which this paper may recall to the minds of our members. Then we may be in a position to tackle, perhaps to solve, questions connected with origins. There is a great family likeness between the versions which suggests a common origin. It is possible that the plays may owe their origin to some one strolling company; for we know that the glee-singers of the west country were taught in this way by choirs which lost their employment in town and had to tramp for a living. It is strange, but true, that the famous Coventry miracles have had no influence on the Rugby versions, for Beelzebub appears elsewhere. The allusion to Jamaica is an indication of date, though it is probably an interpolation; for in the seventeenth century criminals were sometimes transported thither to work on the plantations. The rack is also perhaps alluded to.
The version I give comes from Newbold, a village which lies a couple of miles from Rugby. The town version is not half so long, and besides, St. George has turned into King George, while the unsophisticated villagers have retained the old title of Saint. The version from Newbold will be printed in the text, the town variants as foot- notes.
The methods of acting are the same in either. The actors huddle together in a group, and as the turn comes for each he steps forward and so "enters." The Newbold troupe showed some dramatic ability, both in expression and gesture. The postures and grouping were natural and untaught; see the scene where the Turkish knight falls. Their costumes were simple, and evidently made by themselves.
Characters.
Rugby.
(1) Father Christmas.
(2) King George.
(3) Turkish Knight.
(4) Doctor.
(5) Chimney Sweep.
