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.=--