features which did not contribute to the edification or instruction of the people, though they satisfied their love of novelty and amusement. In this way the early Easter celebrations became real dramatic performances, known as the Easter Plays. Since the element of worldly amusement predominated more and more (a development of which Gerhoh of Reichersberg complained as early as the 12th century), the ecclesiastical authorities began to prohibit the production of Easter Plays in the churches. It became necessary to separate them from church services, because of their length, which increased greatly, particularly after the introduction of the story of the Passion. Fragments of an Easter Play in Latin dating from the 13th century are found in the Benedictbeurn Easter Play, also in that of Klosterneuburg, both of which, probably, go back to the same source as the Mystery of Tours, composed as late as the 12th century, and which, better than any other, offers an insight into the development of the Easter Plays from the Latin Easter celebrations. Popularization When, in course of time, as shown in the Easter Play of Trier, German translations were added to the original texts as sung and spoken, the popularizing of the Easter Play had begun. That of Muri Abbey, in Switzerland, belongs to this period, and is written entirely in German. But it was only after the popular element had asserted itself strongly in all departments of poetry, in the 14th and 15th centuries, that the popular German religious drama was developed. This was brought about chiefly by the strolling players who were certainly responsible for the introduction of the servant, of the ointment-vender (named Rubin), whose duty it was to entertain the people with coarse jests (Wolfenbüttel, Innsbruck, Berlin, Vienna, and Mecklenburg Easter Plays, 1464). The Latin Easter Plays, with their solemn texts, were still produced, as well as the German plays, but gradually, being displaced by the latter, the Latin text was confined to the meagre Biblical element of the plays and the player's directions. The clergy still retained the right to direct these productions, even after the plays reflected the spirit and opinions of the times. Popular poetry, gross and worldly, dominated in the plays, particularly susceptible to the influence of the Carnival plays. Passion Plays The Easter Plays represented in their day the highest development of the secular drama; nevertheless this most important event in the life of