But in the course of time the dance became generally practised by the congregation and this gave rise to abuses.

The authorities of the church abandoned it.

But the feeling for it lingered, and in after years issued in the employment of the procession.

When the procession left the sanctuary and displayed itself in the open air, something of the nature of the dance returned to it and its development into a dramatic spectacle was not difficult.
According to Magnin[1] the lyric drama of the Middle Ages had three sources,--the aristocracy, religion and the people.

Coussemaker finds that this lyric drama had in its inception two chief varieties, namely, the secular drama, and the religious or liturgical drama.