however, so as not to
injure the "damned," who had to pass into its gaping mouth. The
performer who impersonated God had not only his face but also the hair
of his wig gilded. Christ was dressed in a long sheep's skin. The Devil,
or Vice (the _Exodiarii_ and _Emboliariae_ of the ancient _Mimis_), was
easily recognisable by his horns and his tail, whilst his beard was of a
bright red colour, to indicate the flames of the region in which he
dwelt. Judas also wore a wig of a fiery hue, and, after being hung, had
sometimes to do the "cock crowing," as some old accounts of the York
Mysteries show.

It appears to have been customary for the Devil to appear before the
audience with a cry of "Ho! ho! ho!" somewhat similar to the
ejaculations of the Pantomime Clown in after years. (See _Gammer
Gurton's Needle_, Act II., Sc. 3, and "The Devil is an Ass," by Ben
Jonson, Act I., Sc. 1.) The following passage occurs in "Wily Beguiled,"
1606. "Tush! feare not the dodge; I'll rather put on my flashing red
nose, and my flaming face, and come wrapped in a calfe's skin, and cry
'Ho! ho! ho!'" Again, "I'll put me on my great carnation nose, and wrap
me in a rousing calf's-skin suit, and come like some hob-goblin, or some
Devil ascended from the grisly pit of hell, and like a scarebabe make
him take to his legs; I'll play the Devil, I warrant ye."

CHAPTER IX.

The Clown or Fool of the early English Drama--Moralities--The
Interlude--The rise of English Tragedy and Comedy--"Dumb Shews" in the
Old Plays--Plays suppressed by Elizabeth--A retrospect.

In the sixth chapter of this work, in quoting Malone, I have mentioned
that the _Exodiarii_ and _Emboliariae_ of the _Mimis_ were the remote
progenitors of the Clown of the Mystery Plays of this country. Now let
us see what were the duties the Clown fulfilled in the old plays of this
country, and also briefly of the others who were known under the generic
name of Clown or fool.

In the early drama the Clown was a personage of no mean importance and
whose duty was to preserve the stage from vacancy by amusing the
audience with extemporary buffoonery, and also at the end of the
performance. And, as Heywood, in his "History of Women" (1624), says "By
his mimic gestures to breed in the less capable mirth and laughter." On
these occasions, it was usual to descant, in a humourous style, on
various subjects proposed to him by the spectators; but they were more
commonly entertained with wha