Mr. Collier conjectures that the comedy was a youthful production. This is extremely probable; although the evidence is not decisive, as the ballad-maker alluded to might have survived, and maintained his notoriety many years after the death of Skelton. However that may be, the claim of this comedy to be considered the first in our language is indisputable. It must have preceded Gammer Gurton's Needle by at least fifteen years; and, being at that period so well known as to be quoted by Wilson, we may reasonably assign it to a much earlier date. The comedy is written in rhyme, and divided into acts and scenes. The action takes place in London, and the plot, constructed with a surprising knowledge of stage art, affords ample opportunity for the development of a variety of characters. The copy discovered in 1818 wants the titlepage, but is presumed to have borne the date of 1566, as in that year Thomas Hackett had a license to print it. In 1818 a limited reprint was made by the Rev. Mr. Briggs, who deposited the original in the library of Eton College. There was a singular propriety,' observes Mr. Collier, 'in presenting it to Eton College, as Udall had been master of the school;' a circumstance which was entirely fortuitous, Mr. Briggs not being acquainted even with the name of the author. It was reprinted in 1821 and 1830, and lastly by the Shakespeare Society in 1847.] RALPH ROISTER DOISTER. THE WORK-GIRLS' SONG.t PIPE, merry Annot; Trilla, Trilla, Trillarie. Work, Tibet; work, Annot; work, Margerie; *His. En. Dram. Poetry, ii. 246. To make this lively round intelligible, the reader should be informed that it is sung by three sewing girls, who are variously em Pipe, merry Annot; What, Tibet! what, Annot! what, Margerie! Pipe, merry Annot; Trilla, Trilla, Trillarie. Now Tibet, now Annot, now Margerie; Pipe, merry Annot; When, Tibet? when, Annot? when, Margerie? THE SEWING-MEN'S SONG. A THING very fit For them that have wit, And are fellows knit, Servants in one house to be; As fast for to sit And not oft to flit, ployed, as indicated in the first stanza. The stage directions at the opening of the scene describe their several occupations: Madge Mumblecrust spinning on the distaff-Tibet Talkative sewing-Annot Alyface knitting.' After some idle clatter, in which they are joined by the hair-brained Roister Doister, they agree to sing a song, to beguile the time and help them on in their work. Annot. Let all these matters pass, and we three sing a song; Tibet. Sing on then by and by. * Mastery, superior skill. No man complaining, But lovingly to agree. No man for despite, After drudgery, When they be weary, Then to be merry, To laugh and sing they be free; Heigh derie derie, Trill on the berie, And lovingly to agree. THE MINION WIFE. HO so to marry a minion t wife, WHO Hath had good chance and hap, Must love her and cherish her all his life, If she will fare well, if she will go gay, A good husband ever still, What ever she list to do or to say, Must let her have her own will. * Twite, entwite-to twit, to reproach. † Pet or darling. About what affairs so ever he go, He must shew her all his mind, I MUN BE MARRIED A SUNDAY. IMUN be married a Sunday; 1 mun be married a Sunday; Roister Doister is my name; Christian Custance have I found; Custance is as sweet as honey; When we shall make our wedding feast, I mun be married a Sunday.* * The following passage occurs in the Taming of the Shrew:- Act ii, Sc. 1. The concluding words, probably intended to be sung with a fine air of banter and bravery by Petruchio as he goes off the stage, are evidently taken from the burthen of Ralph Roister Doister's song, which we may, therefore, infer to have been one of the popular ballads in Shakespeare's time. THE PSALMODIE FOR THE REJECTED LOVER. MAISTER Roister Doister will straight go home and die, Our Lord Jesus Christ his soul have mercy upon : Yet, saving for a woman's extreme cruelty, And while some piece of his soul is yet him within, Good night, Roger old knave; knave knap. [A peal of bells rung by the Parish Clerk JOHN HEYWOOD. 157 [JOHN HEYWOOD's claims to a prominent place amongst the dramatists are not very considerable. His productions in this way are neither numerous nor important. They can |