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.