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The Growth of English Drama by Arnold Wynne
page 84 of 315 (26%)
_Friar._ What, should ye give ought to these bold beggars?--

_Pardoner._ As be these babbling monks and these friars,--

_Friar._ Let them hardly labour for their living;--

_Pardoner._ Which do nought daily but babble and lie--

_Friar._ It much hurteth them good men's giving,--

_Pardoner._ And tell you fables dear enough at a fly,--

_Friar._ For that maketh them idle and slothful to wark,--

_Pardoner._ As doth this babbling friar here to-day?--

_Friar._ That for none other thing they will cark.--

_Pardoner._ Drive him hence, therefore, in the twenty-devil way!--

_The Four P.P._ (? 1540), similarly, requires no more than a palmer, a
pardoner, a 'pothecary and a pedlar, and for plot only a single
conversation, devoid even of the rough play which usually enlivened
discussions on the stage. In the debate arises a contest as to who can
tell the biggest lie--won by the palmer's statement that he has never
seen a woman out of patience--and that is the sole dramatic element.
Nevertheless, by sheer wit interest is maintained to the end, every one
smiling over the rival claims of such veteran humbugs as the old-time
pardoner and apothecary; scant reverence does 'Pothecary vouchsafe to
Pardoner's potent relics, his 'of All Hallows the blessed jaw-bone', his
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