Abstract
THREE British scholars travelling in Northern Greece in the first decade of this century, (R.M. Dawkins, J.C. Lawson, and A.J.B. Wace), revealed the survival there of primitive dramatic rituals with striking similarities to English mummers' plays.' Writing in 1933, E.K. Chambers recognised that the Greek plays were the 'closest congeners' of the English ones,2 and more recently their similarity was also stressed by Alex Helm.3 This in itself presented a problem of transmission which has never been satisfactorily faced. The passing from country to country of a piece performed by an individuale.g. a song or story-is commonplace. For a group performance to travel from one end of Europe to another, leaving no close analogues in intervening areas, is a process much more difficult to conceive.
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