fields in search of flowers. Joy is sure to introduce equality into pleasures; the symbols of joy never vary, and are changed as little by difference of rank as by difference of season. Here enjoyment, led by abundance, seems to spend the year in continual festivities. Just as the first of May displays its profusion of verdure, as sheap-shearing fills the streets with flowers, and harvest-home is adorned with ears of corn, so Christmas will decorate the walls with ivy, holly, and evergreen. Just as dances, races, shows, and rustic sports cause the sky of spring to resound with their joyous tones, so games in which
And smutted cheeks the visors made,”
will waken the echoes, on the cold December nights, with shouts of gayety; and the May-pole and Christmas log will alike be borne in triumph and extolled in song.
Amid these games, festivals, and banquets, at these innumerable friendly meetings, and in this joyous and habitual conviviality (to use the national expression), the minstrels took their place and sang their songs. The subjects of these songs were the traditions of the country, the adventures of popular heroes as well as of noble champions, the exploits of Robin Hood against the sheriff of Nottingham, as well as the conflicts of the Percies with the Douglas clan. Thus the public manners called for poetry; thus poetry originated in the manners of the people, and became connected with all the interests, and with the entire existence, of a population accustomed to live, to act, to prosper, and to rejoice in common.
How could dramatic poetry have remained unknown to a people of such a character, so frequently assembling together, and so fond of holidays? We have every reason to believe that it was more than once introduced into the
