that, at this very time, the Greek thinkers, poets, and dramatists, hitherto unknown in the Christian world, were discovered and brought back into favor. From all this it followed that, not having yet had time to work out their own form of dramatic art corresponding to the new conception entertained of Christianity as being a teaching of life, and, at the same time, recognizing the previous form of Mysteries and Moralities as insufficient, the writers of the fifteenth and sixteenth centuries, in their search for a new form, began to imitate the newly discovered Greek models, attracted by their elegance and novelty.
Since those who could principally avail themselves of dramatic representations were the powerful of this world: kings, princes, courtiers, the least religious people, not only utterly indifferent to the questions of religion, but in most cases completely depraved—therefore, in satisfying the demands of its audience, the drama of the fifteenth and sixteenth and seventeenth centuries entirely gave up all religious aim. It came to pass that the drama, which formerly had such a lofty and religious significance, and which can, on this
