FOOTNOTES:
[328] Cf. Prol. to Jack Juggler.
[329] Cf. the "lerned men" in the Prol. to the English Andria, circa 1520.
[330] The northern plural.
[331] To be the bell-wether, to excel.
[332] Cf. Camden's Proverbs, p. 264; Ray's Proverbs, p. 132.
[333] Roger bon temps: a mad rascal, a merry greek; Gringalet: a merry grig ... rogue, etc. (Cotgrave).
[334] A. has 'know.'
[335] See Like well to Like, Dodsley, 3: 337.
[336] Cf. Robert the Ryfelar, etc., in Pierce Plowman; Peter Piebaker, etc., in Thersytes; Margery Mylkeducke, etc., in Skelton.
[337] Cf. More's lines to Davy the dycer (Works, p. 1433ª.)
[339] Cf. Ben Jonson's New Inn, II. ii.
[340] Cf. Hankin boby in Thersytes; Handy-dandy in P. Plowman; Huddy-peke in Four Elements, in Skelton, etc.; ib. hoddy poule (= "dunder-head," Dyce).
[341] "This ointment is even shot-anchor," Heywood's Four PP. (= last resort).
[342] Cf. ll. 47, 49; for the whole scene cf. Plautus, Miles Glor. v. 31 sqq.: Et adsentandumst quicquid bic mentibitur; also Ter. Eunucbus, II. ii, 252 et seq.
[343] Cf. Palsgrave, 542: "I face as one dothe that brauleth."
[344] boasting.
[345] Of course 'kinges' if written before July 7, 1553; probably changed to 'Queen' (= Elizabeth) by the printer. (Fleay conjectures, Hist. Stage, p. 59, that R. D. was revived March 8, 1561; the play having been rewritten from an Edward VI. interlude. Gen. Ed.)
[346] The 'n' transferred from 'myne' (my nowne). Cf. nuncle, etc.
[347] Cf. Like will to Like,329; Leland calls Udall niveum ... sodalem; Cooper's ed. XXVII.
[348] Heywood's Prov.; Lear, V. iii, 15.
[349] R. R. D. addresses M. with 'thou' 'thee,' whereas M. uses—on the whole—'you, ye' (to R. R. D.); cf. Skeat's William of Palerne, XLI. note; Zupitza's Guy, v. 356, note.
[350] Cf. Miles, v. 1063.
[351] The first half line is not assigned to R. R. D. in E. and A.; but it should be. Gen. Ed.
[352] certainly; cf. 'hardily,' Chauc. C. T. Prol. v. 156.
[353] E. has the comma after 'offende.'
[354] E. misprints he for 'ye'; corrected by C. and H.
[355] An oath = by God's armes; cf. V. vi, 22.
[356] Cf. Thersytes, Dodsley, 1, 403.
[357] Cf. Phil Soc. Dict. s.v. A prep. § 11; C. and H. drop the 'a.'
[358] The quotation marks are the editor's.
[359] E., 'Whom.'
[360] never; C., 'ne're'; H., 'ne'er.'
[361] Middle Engl. comparative; cf. near, ner, etc.
[362] Cf. Plautus, Miles, 965.
[363] 'an.'
[364] Cf. Heywood's Proverbs, I. ch. 11 (72); 300 Epigrams, 158.
[365] mastership; see l. 116, etc.; cf. 'ientman,' III. v, 8; 'gemman,' etc.
[366] Cf. Plaut. Miles, 1061.
[367] Cf. ib.: Neu ecastor nimis uilist tandem.
[368] Cf. ib. 68, et passim; and Terent. Eunuch. V. viii, 62.
[369] Cf. Plaut. Miles, 1264, and the whole of the first scene.
[370] Cf. 'Ko I,' 'Ko she,' III. iii, 21, 35; 'Ko you,' III. iv, 131; Pericles, II. i. 82; "Die Ke-tha?" 'company quotha?' Four Elements [Dodsley, 1, 23].
[371] Cf. Thersites, [Dodsley, 1, 399, 400].
[372] E., 'Cuy.'
[373] diabolicae staturae; see Guy of Warwick, v. 9945, etc.
[374] Brutus, of the British, Welsh or Arthurian story, hence generally a hero [Murray].
[375] 'Alie' = Hali, Haly, Holy? or Alye = affinis = of the neighbouring country?
[376] Cf. Plaut. Miles, 777; Achilles, ib. 1054.
[377] Tertius e caelo cecidit Cato, Juven. Sat. 2, 40.
[378] Cf. Plaut. Miles, 65.
[379] Cf. "a prince of highe parage," Chester Plays, 1, 157.
[380] Cf. Caxton's "faytes of armes" (Prol. Eneydos), the M. L. "facta guerrae, armorum."
[381] E., 'They' (not 'That,' as A. reads).
[382] love; cf. III. iv, 99. Baby-talk? or the language of the Dutch 'minions'? Hazlitt says: a colloquialism still in use. But the dictionaries are silent.
[383] R. uses 'you'; cf. I. ii, 8.
[384] Cf. Palsgrave, 477, "Je revolve."
[385] Cf. I. iv, iii, etc., C. & H. 'To.'
[386] Not in E.; added by C. In E., the comma is after 'while.'
[387] Cf. I. ii, 44; IV. vi, 7.
[388] Cf. Reinhardstoettner, Plautus, etc., 671: Capitano Spavento viene con li musici per far una mattinata a Isabella.
[389] specimen.
[390] On Mumblecrust, etc., see Appendix [D].
[391] Interrupting Mage.
[392] Better fare than usual. See Harrison's Description of Engl. in Holinshed's Chron. 1, 168 (ed. 1587).
[393] Note the fondness for proverbs, a trait taken from life and often to be found in later plays.—Sherwood: To whurre, whurle (or yarre) as a dog, Gronder comme un chien. Cooper: scolding. It is perhaps = whirr, whirret (slashing, slash)?
[394] Cf. III. iii, 102; Heywood's Proverbs, 1, ch. 2 (p. 6); Camden's Proverbs, 276, 277, etc.
[395] Apparently vv. 17, 18.
[396] Heywood's Proverbs, 2, ch. 7. Patten: a wooden shoe that made a great clattering.
[397] Wager; cf. G. G. N., I. iii, 20; I. iv, 47.
[398] entering.
[399] Sherwood: Une vieille charougne. A tough toothlesse trot, etc.
[400] The same song is alluded to in A pore Helpe (Hazlitt's Early Pop. Poetry, 3, 253).
[401] stitch.
[402] Cf. whippit (in Halliwell): to jump about, etc. In A Treatise shewing ... the Pryde and Abuse of Women Now a Dayes (c. 1550): "With whippet a whyle lyttle pretone, Prancke it, and hagge it well," etc.
[403] E. has comma.
[404] Murray's earliest quotation for 'here away,' etc., is from 1564.
[405] Sherwood: Bon mesnagier.
[406] bring to an end.
[407] yield it you = reward.
[408] I had; I wot. The dialect (generally southern, but occasionally also northern) used by rustic characters in the earlier plays; e.g. in G. G. N., Trial of Treasure, Like will to Like, etc.
[409] Cf. G. G. N. v. 211; Heywood, Prov. 2, ch. 7; Camden, Prov. 268.
[410] mincing, coy.
[411] Cf. the whispering scene in the Trial of Treasure.
[412] Cf. the slave of Polymachæroplagides in Plaut. Pseudolus.
[413] Hazlitt: intentional nonsense for 'nobis miscebetur[!] miserere.' Liturgical words muttered indistinctly and used here jocosely. Heywood: "betweene you and your Ginifinee Nycebecetur" (Prov. 1, ch. 11, p. 57 = 'What's her name?' Nescio quid dicitur?).
[414] Cf. 'spoke,' V. v, 5; and 'take,' III. iii, 135.
[415] make (Hazlitt).
[416] avise, advise.
[417] R.'s oaths are generally not so strong; I count in G. G. N. 48 oaths beginning with, By Gog's, Cocks, etc.
[418] For the rhyme's sake; cf. Wilson's Rhetorique, 202: Reticencia, A whisht or warning to speake no more.
[419] These lines are assigned to R. in E.
[420] Cf. Sherwood: Grison, gray with age, ... grizle.
[421] This part of the scene is the reverse of Plaut. Miles, v. 1000 seq., where Pal. has difficulties in keeping Pyrg. from falling in love with the servant.
[422] Cf. G. G. N. p. 252.
[423] 'Is it not she?' cf. v. 88; II. iv, 14. Elliptical construction, cf. Heywood, Johan, ll. 26 and 624.
[424] friendly (Cotgr.).
[425] Cf. Chaucer's Miller's Tale, 3268, Skelton, etc.
[426] C., 'to' spare.
[427] Cf. the first scene in Plaut. Miles. Instead of the blue spider, etc., Thersites kills Cotswold Lions, fights against a snail, as Horribilicribrifax against a cat, and Sir Thopas (in Endymion) against the 'monster' Ovis.
[428] Pouldre blanche: a powder compounded of Ginger, Cinnamon, and Nutmegs (Cotgrave). Cf. Blaunche laund in the Story of Fulk Fitz Warine; the Lady of Blanchland in the poem on Carle off Carlile in Percy's Folio Ms. 3, 279, etc.
[429] Cf. Plaut. Miles, I. i, 26.
[430] Northern dialect for 'bush.'
[431] In the series of the 'blue spider' and the 'gozeling.' Cf. "the King of Cockneys on Childermas-day," Brand's Pop. Ant. 1, 536, etc.
[432] by the holy blood? (Hazlitt: quasi semblety, semblance.)
[433] Cf. Custrel in Phil. Soc. Dict., Coustillier in Cotgr.
[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.
[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.'
[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].
[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.
Cooper. Ralph Roister Doister, a comedy, ed. by W. D. Cooper, London. Printed for the Shakespeare Society, 1847.
Cotgrave. A French and English Dictionary, ed. 1650 (with the addition of Dictionaire Anglais & François, by Robert Sherwood). [1st ed. 1611.]
Dodsley, s. Hazlitt.
Flügel. Neuenglisches Lesebuch von Ewald Flügel, Vol. I. "Die Zeit Heinrich's VIII." Halle, 1895.
Halliwell. A Dictionary of Archaic and Provincial Words, by J. O. Halliwell. London, 1847.
Hazlitt. Edition of Roister Doister in "A Select Collection of Old English Plays," originally published by Robert Dodsley, 1744. Fourth ed. by W. Carew Hazlitt. London, 1874 (Vol. 3).
Heywood. The Proverbs of John Heywood [first published in 1546? and reprinted from ed. 1598 by Julian Sharman]. London, 1874. Epigrams [reprinted from ed. 1562]. Printed for the Spenser Society, 1867.
Palsgrave. Lesclarcissement de la Langue Francoyse compose par Maistre Jehan Palsgraue, 1530. Pub. par F. Génin. Paris, 1852.
Ray. A Compleat Collection of English Proverbs, by J. Ray. Third ed. London, 1742.