is many a day:
But no more words but mum: you shall hear what he will say.

By the time he has finished speaking the other has unrolled himself and
presents a queer figure, clothed in a bearskin and bearing in large
print on his chest and back the name Lucifer. He too commences with a
laugh or a shout, 'Ho!'. That is the hall-mark of the Devil and the
Vice, the herald's blare of trumpets, so to speak, before the speech of
His High Mightiness. We have not forgotten that other cry:

Huff, huff, huff! who sent after me?
I am Imagination, full of jollity.

It is the same trick; the older rascal is, bone, flesh, and blood, the
very kin of Newfangle; both have the same godfather. So the dialogue
opens between Old Nick and Nichol in the approved fashion:

_Lucifer._ Ho! mine own boy, I am glad that thou art here!

_Newfangle_ (_pointing to one standing by_). He speaketh to you,
sir, I pray you come near.

_Lucifer._ Nay, thou art even he, of whom I am well apaid.

_Newfangle._ Then speak aloof, for to come nigh I am afraid.

We need not trouble ourselves here with their further conversation, nor
yet with Tom Collier of Croydon, who joins them in a jig and a song. He
soon goes off again, followed by Lucifer, so we can turn over the pages,
guided by our outline, until we are near the end.

[_The_ DEVIL _entereth._]

_Lucifer._ Ho, ho, ho! mine own boy, make no more delay,
But leap up on my back straightway.

_Newfangle._ Then who shall hold my stirrup, while I go to horse?

_Lucifer._ Tush, for that do thou not force!
Leap up, I say, leap up quickly.

_Newfangle._ Woh, Ball, woh! and I will come by and by.
Now for a pair of spurs I would give a good groat,
To try whether this jade do amble or trot.
Farewell, my masters, till I come again,
For now I must make a journey into Spain.

[_He rideth away on the_ DEVIL'S _back._]

The reader must use his imagination, stimulated by recollections of the
Christmas pantomime, if this episode is to have its full meaning. Brief
in words, it may quite easily have occupied five minutes and more in
acting.

As related more or less distantly to the noisy element, the many songs
in this Interlude call for notice. The practice of introducing lyrics
was in vogue long before the playwrights of Shakespeare's time displayed
their use so perfectly. From this