Part 26

[434] Here follows a farcical scene, doubtlessly inserted for the applause of the galleries. The musicians are supposed to kneel in mock reverence (v. 90), while M. indulges in practical jokes upon R.

[435] A picture of such a 'fool's feather,' added to the 'comb' in Douce's _Illustrations_, II. Plate 4, 1 (cf. ib. p. 322).

[436] E., _famulae_, but the maids are not on the stage; v. 107 (his men) shows that the musicians are meant.

[437] _Cantent_ refers apparently to the _Seconde Song_ at the end of the play.

[438] E. has '?'.

[439] gave. Cf. _The Lytell Geste of Robyn Hode_: "Take him a gray courser," etc.

[440] Cf. 'allowe,' V. i, 12; 'chieve,' 'gree,' etc. (C. changes: 'loue').

[441] promised.

[442] affianced; cf. IV. i, 17; IV iii, 41; V. ii, 6.

[443] C., 'ioly'; cf. ioily, II. iii, 53.

[444] Custance's quick answer need not be carried back to Parmenio (as by Cooper).

[445] II. i. A night has passed between the first and the second acts [note the 'last day' in v. 46]. The following monologue is distinctly in the spirit of the Roman comedy. The signature at the bottom of this page in the E. copy is C v.

[446] E., 'his,' and no dashes, but a comma after 'woundes.'

[447] _Twangillos_ in Halliwell, _Twango_ in Flügel's _Dict._

[448] An onomatopoetic melody, song; cf. _Romeo_, IV. v, 108, 129.

[449] flute.

[450] Cf. Skelton against Garnesche: "Ye wolde be callyd a maker And make mocke lyke Jake Raker" (Dyce: "an imaginary person whose name had become proverbial" for bad verses).

[451] Note 'pastance,' indicating the original pronunciation in the rhyme, III. iii, 151; V. ii, 23; where the word is not required for the rhyme we find 'pastime,' V. v, 20, etc. So in Henry VIII's famous song, _Pastime with good companye_, we have the word rhyming with 'daliance,' 'daunce.'

[452] From time to time. _Prompt. Parv. Gen. Ed._

[453] 'shoke' in Shakespeare; 'chid' cf. II. iii, 4.

[454] unsuccessful.

[455] Cf. _Hickscorner_ (Dodsley, 1, 168): "If any of us three be mayor of London I wis I will ride to Rome on my thumb."

[456] touchstone (Cotgr.). The Lombards famous as bankers; ill famed for their "subtyl crafft ... to deceyue a gentyl man" (Boorde's _Introd._, p. 186).

[457] Cf. Chaucer, _Troil._ 4, 461; Heywood, _Prov._ 2, ch. 1. Reference to the cure of nettle-stings by dock-leaves.

[458] running about.

[459] Cf. Boorde's _Introd._, 191, etc.

[460] neat. Cf. Ascham, _Tox._ 28.

[461] E. and A. read: 'ferdegews'; C. and H.: 'ferdegews.' Is it the same as French: _Verdugalle_ (A vardingale, Cotgr.)? _ib._ s.v. _Bavolet_: A billiment or head-attire, etc.

[462] gay (the earliest quot. in Murray is from 1568).

[463] Cf. Jamieson's _Scott. Dict._: Prickmedainty, one who is finical in dress or carriage.

[464] Is this related to "giving a fig"?

[465] ready for every event (_Phil. Soc. Dict._).

[466] to make a thing a subject for reproach (_Phil. Soc. Dict._).

[467] _Four Elem._ (Dodsley, 1, 20).

[468] Cf. Cotgr. _s.v. Trenon_: f. A great raumpe, or tomboy; _s.v. Trotiere_: f. A raumpe ... raunging damsell, etc.

[469] E., 'No did?'--'did' spoils the rhyme.

[470] Cf. Palsgrave, 415; I abye, I forthynke or am punished for a thynge, etc.

[471] Cf. II. iv, 26.

[472] Wrong signature in E., D. v.

[473] burden.

[474] Cf. _Appius and Virg._ (Dodsley, 4, 121): "it's time to be knacking," etc.

[475] he will show what a fool he is; cf. Skelton, 2, 254: "thou wylte coughe me a dawe" (a fole, etc.).

[476] E. has a period.

[477] Cf. Palsgr.: Byrde bolt matteras; Cotgrave, s.v. 'Matteras' ... a quarrell [arrow] without feathers, ... a light-brain'd ... fellow.

[478] See Udall's _Apophthegms_ (1542, _apud_ Murray): "chop-loguers or great pratlers." The word originated in Protestant derision of the 'tropological' and 'anagogical' senses of the scholastics; cf. _Tindale on the four senses of Scripture_ (_Obedience of a Christian Man_, 304, 307, 308): "we must seek out some chopological sense."

[479] Cf. Heywood, _Prov._ 2, ch. 4 (109); 300 _Epigrams_, p. 149, etc.

[480] To hit, or run against (Baret, 1580, cf. Hall).

[481] heavy, stupid fellow (Halliwell).

[482] Cf. Sherwood: a Hob (or clowne).

[483] lubber.

[484] Cf. Baw! as an exclamation of contempt, repudiation, in _Pierce Plowm._, C. 13, 74, 22, 398 ("still used in Lancashire as an interjection of contempt and abhorrence," Whitaker, 1813, cf. Skeat).

[485] humiliated; Shak., _1 Hen. VI._ (IV. iii, 13).

[486] not only the lover, sweetheart, etc., but also the flatterer, favorite (of a prince), despicable creature (cf. Cotgr.).

[487] a Latinism (_floccifacere_); used also in Udall's _Paraphr. to Luke_ (1545; see _Phil. Soc. Dict._).

[488] Cf. _Towneley Myst._, 101, and _Trial of Treasure_; 'wynde,' _Four Elem._; "let the world 'slide,'" _Wit and Science_.

[489] A translation from the Latin _Ordo ad visitandum infirmum_ (_interroget cum episcopus, quomodo credat in deum_, Maskell, _Mon. Rit._, 1, 89).

[490] On this Mock Requiem see p. 186 and Appendix E.

[491] executor.

[492] Cf. Sherwood: _Roger bon temps_, a mad rascall, a merry greek.

[493] See p. 187.

[494] Cf. I. ii, 181; I. iv, 4; II. iii, 10, etc.

[495] by God's Armes!

[496] swoon.

[497] Cf. I. iii, 11, 14.

[498] Heywood, _Prov._ 1, ch. 4 (17); Camden's _Prov._, 271.

[499] H. makes the rhyme 'carriage.'

[500] voice? or rather courage.

[501] Cf. Palsgr. p. 664: set the plyghtes in order.

[502] gallant; cf. I. ii, 124, and the _Fourth Song_, v. 7.

[503] A. has 'should.'

[504] Cf. Palsgr. 589: I jette with facyon and countenaunce to set forthe my selfe. _Je braggue_, etc.

[505] E. has no punctuation after 'mastershyp' or 'lord'; A. has a period after the former.

[506] impudent fellow!

[507] never.

[508] Cf. Halliwell: to keep the term 'master' out of sight, to be wanting in proper respect [M. makes good his carelessness in the next verses!]

[509] Cf. 'chose,' I. iv, 15.

[510] In a 'treyce'; the French way of counting in games; cf. _ambs ace_, _syce ace_, etc.

[511] This seems to refer to the '_Fourth Song_' at the end of the play.

[512] As early as the _Promptorium Parvulorum_: Gawde or jape = _Nuga_.

[513] C., 'have us.'

[514] E., 'sernice.'

[515] The ambiguous letter finds a pre-Shakespearian parallel in the satirical poem on _Women_ printed from _Add. Ms._ 17492, fol. 18, in Flügel's _Lesebuch_, p. 39; and in the poem printed in Ebert's _Jahrbuch_, 14, 214.

[516] Cf. III. v, 77, where R. should have written or inserted 'yᵉˡ,' thus obviating the necessity of resorting to bad grammar--'they' for 'them.'

[517] See Appendix _H_ under 'Arber.'

[518] Cf. IV. vii, 48; an oath in Skelton's _Magnif._ 685 (and _Bowge_, 398). Calais was lost to the English January 20, 1558.

[519] Cf. v. 110, 122; II. iii, 17, etc.

[520] = Gog's. R.'s oaths, gain force with his misfortune.

[521] Cf. I. ii, 146.

[522] make; cf. I. iv, 18.

[523] Palæstrio (_Miles Glor._ 1244): _Nam tu te vilem feceris_ ..._Sine ultro veniat, quæsitet, desideret, exspectet._

[524] Cf. Tindale, 1462 [_Prol. Jonas_]: "the heathen Ninivites though they were blinded with lusts a good"; _Two G. of V._, IV. iv, 170: "weep agood."

[525] Cf. III. ii, 52.

[526] sooner.

[527] Cf. 'cousin,' III. i, 4.

[528] swindling.

[529] robbing; Palsgr. 465: I bribe, I pull, I pyll! _Ie bribe (Romane), je derebbe ..._ He bribeth and he polleth.

[530] So in E.; A., C., and H. give the words "Nay ... still" to _Mery_ unnecessarily.

[531] R. had received his copy back from Custance!

[532] Omitted in A.

[533] head; cf. _G. G. N._, p. 250; _Hickscorner,_ p. 168, etc.

[534] H. gives this line to R.

[535] by all means; cf. I. ii, 175; IV, iii, 41, etc.

[536] whether.

[537] welfare; cf. _Prol._ 10.

[538] Cf. 'spouse,' etc., I. v, 9; IV. iii, 41. E. has comma between 'wife' and 'Espoused'.

[539] Cf. V. iv, 28; 'cheek' here like 'eyes,' 'teeth.'

[540] F., 'supect.'

[541] Taken from Plautus, _Mil. Glor._ I. 1.

[542] Cf. IV. i, 17.

[543] Note the 'thee' and 'you.'

[544] Cf. I. i, 49.

[545] Cf. III. iv, 7, 8.

[546] lubber or lout.

[547] C. adds the rhyme: 'though I die.'

[548] See Appendix _F_.

[549] simple, timid.

[550] R. 'thous' Custance now!

[551] Cf. v. 102 'passion'; 'pashe,' IV. vii, 51; IV. viii, 52.

[552] A. reads 'mowe,' C. 'inowe.'

[553] Cf. Cotgr., _Tressault_: A start ... also, a leap.

[554] Cf. I. ii, 140.

[555] Cf. II, iii. 17; III. iv, 85.

[556] Think of it.

[557] Sherwood, To appall: _Esmayer_, _descourager_.

[558] once for all.

[559] breme, brim, furious; cf. V. 34.

[560] So in E. C. reads correctly 'the'; but A. has 'yat,' and M. 'that.'

[561] The names of the speakers in vv. 10 and 11 are by mistake in inverse order in E.

[562] 'mockage' is neither English nor French. Palsgr., Cotgr., etc., do not have it; Halliwell quotes it from "Collier's _Old Ballads_ 48; Harrison, 235."

[563] See II. iii, 32.

[564] Cf. the figure of Crafty Conueyaunce in Skelton's _Magnyfycence_.

[565] the 'Cotswold lyon' is the 'sheepe' of v. 29; cf. Heywood, _Prov._ I. ch. ii (78): 'as fierce as a Lion of Cotsolde'; _Thersites_ (Dodsley 1, 403), etc.

[566] line, array.

[567] Cf. Palsg. 695: assemble in routes, styrre about.

[568] H. changes 'and' into 'as.'

[569] Cf. 'chieve, 'low.

[570] intercede.

[571] Jocose formation; probably a "collock," a (kitchen) pail (_North-Engl._ acc. to Halliwell). A large pail generally with an erect handle in Yorks, Lancash., etc. (Wright, _Dial. Dict._). Cf. Heywood, _Prov._ 2, ch. 7, "give you a _recumbentibus_." If this fine Latin ending was a school-joke it would be of chronological importance.

[572] Stupefied; cf. Pilsgr. p. 421.

[573] for security; see _Robyn Hode_, st. 63; _Cock Lorels Bote_, etc.

[574] T. in addressing the 'Miles' goes on with his military jargon. In E. this line is assigned to Royster, and the next two lines from '_But_' to 'befall' to T. Trustie.

[575] By the mass!

[576] IV. viii, Cf. Plaut. _Miles_, v. 1394 _seq._

[577] E. has 'you.'

[578] the 'goose' would produce the same effect as the 'snail' in _Thersites_.

[579] Heywood, _Prov._ 1, ch. 5 (21): "thus be I by this once _le senior de graunde_, | many that commaund me, I shall commaunde."

[580] Cf. _Mil. Glor._ 1406.

[581] Heywood's _Prov._ 2, ch. 8; _ib._ 1, ch. 2; Camden, _Prov._ 270; Ray, etc.

[582] See the complete oath, III. iv, 127.

[583] masculine, furious.

[584] See Child's _Ballads, Index_; Flügel's _Lesebuch_, 440.

[585] Gog's bones, _G. G. N. passim_.

[586] E. has the stage direction: _Exeant om_

[587] The _Exeat_ in E. stands at the end of 61.

[588] natural disposition.

[589] make proof of; cf. Palsgr. p. 762.

[590] Cf. Plaut. _Miles_, v. 957 (IV. i, 11).

[591] straightway, therefore.

[592] Note the rhyme.

[593] Cf. Sherwood, s.v.: ... 'rude,' 'simple,' 'vil,' etc.

[594] Note the rhyme.

[595] Cf. stablishe, etc.

[596] E. and A. have an interrogation mark.

[597] Adulteress.

[598] E., 'here were ye wished to haue.'

[599] Nom.-vocative; cf. V. vi, 37.

[600] reproach.

[601] See IV. ii, 14.

[602] Cf. Koch's _Hist. Gram._ 2: 324.

[603] Cf. last scene of Ter. _Eunuchus_.

[604] "Unless you desire it."

[605] E. has interrogation mark.

[606] Cf. _Eunuch._ V. viii, 49: _Fatuus est, insulsus, bardus_.

[607] Cf. _ib._ V. viii, 57; _Hunc comedendum et deridendum vobis propino_.

[608] E., 'maintaiue.'

[609] Cf. _Eunuch._ V. viii, 62: _Numquam etiam fui usquam, quin me omnes amarint plurimum._

[610] Cf. Pollock-Maitland, _Hist. Engl. Law_, 1, 171: "The Exchequer is called a curia ... it receives and audits the accounts of the sheriffs and other collectors; it calls the King's debtors before it," etc.

[611] Cf. Wright's Songs, 76.

[612] See Introd., _Date of the Play_.

[613] See Appendix G.

[614] The title, '_Fidei Defensor_,' was given to Henry VIII. in 1521; the title, _Defender of the Faith_, is found in the statutes of Mary and Elizabeth; _Defenders of the Faith_ in those of Philip and Mary.

[615] Similarly in the _Prayer_ at the end of _Cambyses_.

[616] Similarly in the _Prayer_ at the end of _Like will to Like_.

[617] Similarly in the plays of _Jacob and Esau_, _Disob. Child_, _New Custom_, _Cambyses_, _Like will to Like_.

[618] Similarly in the _Prayers_ of _Nice Wanton_, _Disob. Child_, _Appius_, _Like will to Like_, _Triall of Treas._ [all estates].

[619] See I. iv, 112.

[620] A. (and E.?): 'free.'

[621] To be inserted III. iii, 152.

[622] Cf. III. iii, 120.

[623] Cf. III. iii, 53.

[624] _Sic._ E.

[625] H. changes to 'none.'

[626] Cf. the slight differences III. iii, 59.

[627] Entirely new line.

[628] Cf., on 'Voices' of Bells, Brand, _Pop. Ant._ 2: 214, 216.

[629] Cotgr.: a Triple; also Gaillard-time in Music.

APPENDIX

=A. The Metre of Roister Doister.=--Udall's verse is a long line of 9, 10, 11, 12 (and rarely more) syllables; a verse which represents the Middle English Long Line (or the Middle English _Septenarius_, as it has been called for lack of a better name), as we find it, for instance, in _Robert of Gloucester_, some Legends, and _Robert of Brunne_.

This Middle English long line, of either six or seven stresses or accents, is found in Skelton's _Magnyfycence_, and other early Plays.

In Roister Doister, on the whole, the lines of six accents seem to prevail, lines corresponding to the Middle English Alexandrine, or in Udall's case perhaps rather to the classical _senarius_, to the _trimeter_ of the Roman comedy as understood by Udall. But a great number of _septenarii_ occur at the side of these _senarii_, distributed all over the play, and in the speeches of different persons.

In many cases it seems even doubtful whether a verse should be regarded as a _senarius_ or a _septenarius_.

_Specimens of the Senarius_:--

Truepen| ie get | thee in||thou shalt|among |them knowe I will | speake out| aloude ||I care |not who|heare it.

_Specimens of the Septenarius_ (the syllable before the cæsura or the end of the line with a slighter, secondary accent, produces this _septenarius_ in most cases):--

I go' |now Tri'st|ram Tru'st|y`||I tha'nk |you' |right mu'ch| And see'|that in' |case I' ||should neede'|to come'|to arm' |ing.` _Senarii or Septenarii_:--

Yet a fi'tter wi'fe for you'r || ma'ship mi'ght be fou'nde. or: Ye't a fi'tter wi'fe for you'r || ma'ship mi'ght be fou'nde.

Such a good'ly ma'n as you' || mi'ght get on'e with la'nde. or: Such' a good'ly ma'n as you' || mi'ght get on'e with la nde.

=B. The Figure of the Miles Gloriosus in English Literature.=--The limits of this edition forbid any detailed account of the pedigree of the type of the _Miles Gloriosus_ in English Literature, but for the benefit of the student, I wish to give the following references:--

On the _Miles Gloriosus_ of the Ancients, cf. the classical account in Otto Ribbeck's _Alazon, Ein Beitrag zur Antiken Ethologie und zur Kenntniss der Griechisch-Römischen Tragödie_, Leipzig, 1882. Cf. further the masterly sketches in the _History of Roman Literature_ (Leipzig, 1887; 1, 66; 83) by the same author; the shorter account, "_Über die Figuren des Miles Glorioius und seines Parasiten bei älteren und neueren Dichtern_," by A. O. F. Lorenz (as an appendix to the same scholar's edition of Plautus, _Mil. Glor._, Berlin, 1886; pp. 230 _seq._). The fullest collection of material for a general history of this classical type in modern literature is contained in Karl von Reinhardstoettner, _Plautus, Spätere Bearbeitungen Plautinischer Lustspiele_, Leipzig, 1886 (pp. 130 _seq._, 595-680).

On the _Mil. Glor._ in English Literature, cf. the excellent dissertation by Herman Graf, _Der Mil. Glor. im Englischen Drama bis zur Zeit des Bürgerkrieges Rostock, s. a._ [1891; cf. Koch's note in _Englische Studien_, 18, 134].

On the Shakespearian "quadrifoil," Falstaff, Parolles, Armado, Pistol, cf. the charming _causerie_ by Julius Thümmel: _Der Mil. Glor. bei Shakespeare_ [published first in the _Shakespeare Jahrbuch_ of 1878, and, later, in the same author's _Shakespeare Charaktere_, Halle, 1887, Vol. I. pp. 257-276].

=C. Titiville (I. i, 21).=--'Tuteville' was originally the name of a devil in the French Mystery Plays (cf. Mone, _Schauspiele des Mittelalters_, 2, 27);[630] from the French Mystery play the name was introduced into the Mysteries of Germany, England,[631] and Holland. His diabolical occupation is thus defined in the _Myroure of oure Ladye_ (1 ch. 20; cf. Blunt's note, 342; as well as Skeat's to _Pierce Plowm._, C. xiv, 123): "I am a poure dyuel and my name is Tytyuyllus ... I muste eche day ... brynge my master a thousande pokes [bags] full of faylynges, & of neglygences in syllables and wordes that are done in youre order in redynge and in syngynge, & else I must be sore beten."

This 'function' of the Devil seems to allow a connection[632] with the Latin _titivillitium_,[633] "a vile thyng of no value" (Cooper), something very small and trifling, like the "faylynges and neglygences in syllables" in praying and reading of the church offices.

In Udall's time the ancient Devil had degenerated, and his name had become a byword for a low, miserable fellow; cf. the play of _Thersites_ (Dodsley, 1, 424):--

Tinkers and taborers, tipplers, taverners, Tittifills, triflers, turners and trumpers,

and Heywood's _Proverbs_, 1 ch. 10 (40):--

There is no moe such titifyls in Englandes ground || To hold with the hare and run with the hound.

=D. Mumblecrust and the Maids (I. iii.).=--1. _Mumblecrust._ Cooper quotes the same name from Dekker's _Satiromastix_, and a Madge Mumblecrust from _Misogonus_ (1577). Jack M. is the name of a beggar in _Patient Grissel_, IV. iii (cf. Cooper). Different compounds are Mumble-news (Shakesp. _L.L.L._ V. ii, 464) and Sir John Mumble-matins (Pilkington, _Exposition upon Aggeus_, 1, 2).

2. _Tibet._ Tib (=Isabella) was the typical servant's name; cf. _G.G.N._; Tib and Tom in _Ail's Well_, II. ii, 24; "every coistrel inquiring for his Tib," _Pericles_, IV. vi, 176, etc.

3. In _Aly face_: the first part indicates the colour of her nose and the desire of her heart.

The whole dialogue of these women takes us back to the times when it was no dishonour to women to go "to the ale" and enjoy themselves there with their gossips; cf. _P. Pl._, C. 7, 362; _Chester Pl._, 1, 53, etc.

=E. The Mock Requiem= (III. iii, 53) is one of the latest instances of parodies of church services such as are found everywhere in the literature of the Middle Ages. One of the oldest of such parodies is the _Drunkard's Mass_, _Missa Gulæ_, printed in Halliwell and Wright's _Reliquiæ Antiquæ_, 2, 208 (cf. the _Paternoster Goliæ_); the _Officium Lusorum_ (printed in _Carmina Burana_, 248); the _Sequentia falsi evangelii sec. Marcam_ (_Initium S. Evangelii sec. marcas argenti_) in Du Meril, _Poés. Pop. Lat. Ant._ XII. s.p. 407, etc.

In English Lit. we find similar parodies in the _Requiem to the Favourites of Henry VI_. (Ritson's _Songs_, 101; Furnivall's _Polit. Rel. and Love Songs_, 6: For Jake Napes Sowle, _Placebo_, and _Dirige_); in _Passages_ of the _Court of Love_ (Chalmers, _Engl. Poets_, 1, 377), in the _Placebo Dilexi_ in Skelton's _Phyllyp Sparowe_ (perhaps the source for Udall's happy thought); in Dunbar's _Will of Maister Andr. Kennedy_, etc.

The parallels to Udall's parody are to be found in Maskell's _Monumenta Ritualia_,[634] in the _Manuale et Processionale ad usum insignis Eccles. Eboracensis_,[635] or in the _Rituale Romanum_.[636]

The references are, for--

1. The _Placebo Dilexi_ (Ps. 114), Man. Ebor. 60; Sarum 57*.

2. The Antiphona _Ne quando_ [_rapiat ut leo animam meam_, etc., Ps. 7], Ebor. 67. 68; Sarum 69*; Rit. Rom. 166. 167.

3. The Antiphona _Dirige_ [_Domine Deus meus in conspectu tuo viam meam_], Ebor. 65; Sarum 62*; Rit. Rom. 166, etc.

4. _A porta inferi_ [_Erue Domine animas eorum_], Sarum 58*; Rit. Rom. 168.

5. _Requiem æternam_ [_dona eis Domine, et lux perpetua luceat eis_], Ebor. 64; Sarum 59*.

6. The 'Epistola' _Audivi vocem_ [_Lectio Libri Apoc. Joh._ 14, 13], Sarum 76*; Rit. Rom. 158.

7. The _Responsorium: Qui Lazarum_ [_resuscitasti a monumento fætidum_], Ebor. 69; R. Rom. 169.

8. The _Antiphona: In Paradisum_ [_deducant te Angeli_], Rit. Rom. 150, etc.

It is needless to say that Merygreeke does not adhere strictly to the order of the Ritual, but produces a humorous jumble.

The words _neque lux neque crux_ not in the Ritual, but refer to the 'order about the wax taper'[637] and the crucifix in the extreme unction, etc. See Maskell, I. ccxcviii.; the '_clinke_'[638] refers to the sounding of the passing bell (supposed to drive away evil spirits).[639] Larimer remarks about such 'fooleries': "The devil should have no abiding place in England if ringing of bells would serve" (_Serm._, 27, 498), and the English reformers were, on the whole, of Larimer's opinion;[640] but there were more tolerant men who ultimately prevailed, and so in course of time one short peal before the funeral was allowed, and one after it,[641] and even a threefold peal was permitted by Whitgift.[642]

On the history of the Funeral Bell, valuable material is contained in the _Parker Soc._ '_Index_,' s.v. Bells (cf. _ib._ sub. 'Candles').

=III. iii, 81, 83=: 'Pray for,' etc. If this passage were in a serious context, interesting deductions could be drawn from it as to Udall's religious views, and perhaps as to the date of the play. Prayers for the dead were entirely against the spirit and doctrines of the early Reformers. But here also less radical views were held, and so we find the Prayer enjoined by Cranmer, 1534 (_Works_, 2, 460), by Edward VI. (Injunctions, 1547, _ib._ 504). To mock the prayer would probably have been unsafe between 1547 and 1556, when Udall died. Edward's _Common Prayer Book_ of 1549 retains the prayer for the dead (p. 88, 145), but the edition of 1552 is silent about it (_ib._ 272, 319). In _Elizabeth's Primer_ of 1559 this _Prayer_ is reintroduced (cf. Priv. Prayers, 59, 67); but later Protestants again condemn it, _e.g._ Whitgift (1574), 3, 364.

=F. Roister as 'vagrant.' IV. iii, 104.=--Of all the statutes against vagrants, that of 1 Edward VI. (c. 3), 1547, affords the best parallel to Custance's resolute and humorous words. This law determines that "whosoever ... being not lame shall either like a seruing-man wanting a master, or like a beggar or after any such other sort be lurking in any house or houses, or loitering, or idle wandering by the high wayes side, or in streets, cities, townes, or villages ... then euery such person shall bee taken for a vagabond, ... and it shalbe lawfull ... to any ... person espying the same, to bring or cause to be brought the said person so liuing idle and _loiteringly_, to two of the next justices of the peace," etc.

=G. The prayer and 'song' at the end of the play. V. vi, 47.=--I am inclined to think that the song which 'they sing' according to the stage direction, is _not_ given,[643] and that verses 47-59 are _spoken_, and represent the 'prayer' which the actors would all say kneeling (cf. Nares's _Glossary_, s.v. 'kneel'). That the 'Queene' referred to is Elizabeth, and not Mary, becomes clear from the words "God graunt hir as she doth, _the Gospell to protect_." This proves, too, that these words are not by Udall, but by the unknown hand that prepared the play for the press under Elizabeth.

=H. Works quoted in the notes.=--

ARBER. The editions of Roister Doister in Arber's _English Reprints_--

1. of July 1, 1869. 2. of July 24, 1869.

N.B. The only difference which I have found between the two reprints is the _absence_ of one line [III. iv, 66] on p. 51 in the ed. of July 24; the line is contained in ed. of July 1, 1869.

CAMDEN. Proverbs in 'Remaines concerning Britaine.' London, 1623.