A mighty revolution has taken place in the sports and pastimes of the common people. They, indeed, furnish a certain indication of the real character of a people, and change with the changing spirit of a state. A mighty revolution has taken place in this respect, within the last thirty years, in England, and that entirely produced by the change of feeling, and advance of character. But if we look back through the whole course of English history, we shall find the sports and pastimes of the people taking their form and character from the predominant spirit of the age; in a great measure copied from the amusements and practices of their superiors, and always influenced by them. While the feudal constitution of society prevailed, and chivalry was in vogue, the sports of the common people

had a certain chivalric character. They saw jousts and tourneys and feats of archery, and they jousted and tilted, and shot at butts. Tilting at the quintain was, in all the chivalric ages, a popular game. It was a Roman pastime, instituted for military practice, and continued for the same object by the feudal nations; and was adopted by the common people as a favourite game, because both the laws of chivalry and their slender finances prevented them taking part in jousts and tourneys. In Strutt may be found descriptions and quaint illustrative engravings of the various kinds of this game. "The Quintain," says Strutt, quoting from Vegetius, de re militari, Menestrier and others, "originally, was nothing more than the trunk of a tree, or post set up for the practice of the tyroes in chivalry. Afterwards a staff or spear was fixed in the earth, and a shield being hung upon it, was the mark to strike at; the dexterity of the performance consisted in striking the shield in such a manner as to break the ligatures and bear it to the ground. In process of time this diversion was improved, and instead of the staff and the shield, the resemblance of a human figure, carved in wood, was introduced. To render the appearance of this figure more formidable, it was generally made in the likeness of a Turk, or a Saracen, armed at all points, having a shield upon his left arm, and brandishing a club or a sabre in his right. Hence this exercise was called by the Italians—'running at the armed man, or at the Saracen.' The quintain thus fashioned, was placed upon a pivot, and so contrived as to move round with facility. In running at this figure, it was necessary for the tilter to direct his lance with great adroitness, and make his stroke upon the forehead, between the eyes, or upon the nose; for if he struck wide of those parts, especially upon the shield, the quintain turned about with much velocity, and in case he was not exceedingly careful, would give him a severe blow upon the back with the wooden sabre held in the right hand, which was considered as highly disgraceful to the performer, while it excited the laughter and ridicule of the spectators. When many were engaged in running at the Saracen, the conqueror was declared from the number of strokes he had made, and the value of them. For instance, if he struck the image upon the top of the nose between the eyes, it was reckoned for three; if below the eyes upon the nose, for two; if under the nose to the point of the chin, for

one; all other strokes were not counted: but, whoever struck upon the shield, and turned the quintain round, was not permitted to run again upon the same day, but forfeited his courses as a punishment for his unskilfulness." Brande, in his Popular Antiquities, tells us that the Saracen was often armed with a bag of sand instead of a sabre, which came upon the back of the unlucky tilter with such violence as to fling him to the earth with no enviable shock. Various were the quintains, according to the age in which they were used, or the means of the players. In some cases the quintain was merely a common stake with a board fastened to it; in others, it was a post with a cross-bar moving on a pivot, something like a turnstile, with the sand-bag at one end of the bar, and the board, or shield, at the other. In others, it was a water-butt set upon a post, so as to throw its contents over the tilter if he struck it unskilfully. In others, it was a living person holding a shield. There was also the water-quintain. "A pole or a mast," says Fitzstephen, "is fixed in the midst of the Thames, during the Easter holidays, with a strong shield attached to it; and a boat being previously placed at some distance, is driven swiftly towards it by the force of oars, and the violence of the tide, having a young man standing at the prow, who holds a lance in his hand, with which he is to strike the shield; and if he be dexterous enough to break the lance against it, and retain his place, his most sanguine wishes are satisfied. On the contrary, if the lance be not broken, he is sure to be thrown into the water, and the vessel goes away without him; but, at the same time, two other boats are stationed near to the shield, and furnished with many young persons, who are in readiness to rescue the champion from danger." It appears to have been a very popular pastime, for the bridge, the wharfs, and the houses near the river, were crowded with people on this occasion, who came, says the author, to see the sports, and make themselves merry.

Running at the quintain continued to be a favourite game till Queen Elizabeth's time; and was universal throughout the country. Plott, in his History of Oxfordshire, mentions it, and Laneham describes a curious instance of it exhibited at Kenilworth during the entertainment given by the Earl of Leicester to Queen Elizabeth. "There was," he says, "a solemn country bridal; when in the castle was set up a quintain for feats of arms, where, in a great

company of men and lasses, the bridegroom had the first course at the quintain, and broke his spear tres hardiment. But his mare in his manage did a little stumble, that much-adoe had his manhood to sit in his saddle. But after the bridegroom had made his course, rose the rest of the band, awhile in some order; but soon after tag and rag, cut and long tail; where the specialty of the sport was to see how some for his slackness had a good bob with the bag, and some for his haste to topple downright, and come tumbling to the post. Some striving so much at the first setting out that it seemed a question between man and beast whether the race should be performed on horseback or on foot; and some put forth with spurs, would run his race byas, among the thickness of the throng, that down they came together, hand over head. Another, while he directed his course to the quintain, his judgment would carry him to a man among the people; another would run and miss the quintain with his staff, and hit the board with his hand.”

Boys imitated this game on their own scale, drawing one another on wooden horses to the quintain, or running at it on foot; and various other rustic exercises were derived from it. Of archery we need not speak, every one knowing how universal it was during the feudal ages; and quarter-staff, quoits, flinging the hammer, pitching the bar, and similar games were the offspring of the same state of society. Playing at ball and at bowls were very ancient and kingly sports, and became general amongst the people. They were ancient classical games, and no doubt were introduced by the Romans into this country. They are mentioned both in the oldest metrical romances, and the oldest of our popular ballads. Tennis courts were common in England in the sixteenth century, and the establishment of such places countenanced by the monarchs. Henry VIII. was a tennis player. Fives courts, and places for the practice of a variety of ball-games,-hand-ball, balloon-ball, stool-ball, principally played at by women; hurling, foot-ball, golf, bandy, stow-ball, pall-mall, club-ball, trap-ball, tip-ball, and that which is now become the prince of English ball-games, cricket.

Another circumstance in the feudal ages, which contributed to promote these and other games, was, that towns were few. The majority of the common people, living in the country; in forests and fields; watching the game, or cultivating the lands, or tending

the herds and flocks of their lords, on open downs and wastes, naturally congregated with greater zest in villages after the day's tasks were over, and entered into amusements with the lightheartedness of children; for they were as ignorant of all other cares, of book-learning, and what was going on in the world at a distance, as children. Hence their social pleasures were of an Arcadian stamp-they danced, they leaped, they wrestled, they kicked the foot-ball, or flung the hand-ball, the quoit, or the bar.

But another circumstance which tended to fashion their amusements was that the feudal ages were also the ages of the Catholic church; a church which delighted to amuse the imaginations of the people with shows, pageants, miracle-plays, and mysteries. The church festivals were all scenes of holiday, feasting, and wonderment. Processions, and representations of the acts and persons of their religious faith, kept them fixed in admiration and insatiable delight. The churches were the first and only theatres. In them all scripture subjects, personages, doctrines, and even opinions were represented, and brought palpably before the wondering people, in mysteries, moralities, and miracle-plays. Things which now would justly be deemed the most revolting blasphemies and desecrations of holy things, were then gravely brought out by the church, for the entertainment and edification of the people. I have already shewn something of this in speaking of the religious festivals, as celebrated in Catholic countries, but we can only see these things in their full growth, by looking back into the middle ages. The theatrical exhibitions of London in the twelfth century were of this kind; representations of the miracles wrought by confessors, and the sufferings of holy martyrs. But these did not suffice. These ecclesiastical actors penetrated into the Holy of Holies, and dared to represent the sacred Trinity before the eyes of the mob. In the mystery called Corpus-Christi, or CoventryPlay, being played in a moveable theatre, by the mendicant friars of Coventry, the Deity himself is represented seated on his throne, delivering a speech commencing thus:

Ego sum de Alpha et Omega, principium et finis.

My name is knowyn God and Kynge,

My worke for to make now wyl I wende,

In myself now resteth my reyninge,

It hath no gynnyng, ne noe ende.