Chappell, in his _Popular Music of the Olden Time_, says: “We may date the custom of singing hymns to secular tunes from this time [The Norman Conquest] if, indeed, it may not be carried back to the time of St. Aldhelm. William of Malmesbury records of Thomas, Archbishop of York (created in 1070), that ‘whenever he heard any new secular song or ballad sung by the minstrels, he immediately composed parodies on the words to be sung to the same tune.’ “In a contribution to _Notes and Queries_, Mr. James Graves gives a curious list of eight songs similarly parodied in _The Red Book of Ossory_, a manuscript of the fourteenth century, which is preserved in the archives of that see. Six of the songs are English (there are two parodies on one of them), and the remaining two are Anglo-Norman. The Latin hymns seem to have been written by Richard de Ledrede, Bishop of Ossory from 1318 to 1360. The names of the six English songs are as follows: 1. Alas! how should I sing, yloren is my playinge. How should I with that olde man, Sweetest of all, singe, Leven and let my leman. Sweetest of all, singe. 2. Have mercy on me, frere, barefoot that I go. 3. Do, do, nightingale, syng ful mery Shall I never for thine love longer kary. 4. Have good day, my leman _etc._ 5. Gaveth me no garland of greene, But it ben of wythones (withies—wyllowes?) yrought. 6. Hey, how the chevaldoures woke all night.” In the sixteenth century, the early Presbyterians continued this usage, as is evidenced by Wedderburn’s hymnal published in Edinburgh in 1560, quaintly entitled: _Ane Compendius Booke of Godly and Spirituall Songs, Collected out of Sundrie Parts of the Scriptures, with Sundrie of Other Ballates Changed out of Prophaine Songs, for Avoiding of Sin and Harlotrey_. Among these latter was a parody of ‘John, Come Kiss Me,’ the wide and enduring popularity of which is attested by its inclusion in Queen Elizabeth’s _Virginal Book_, Playford’s _Introduction, Apollo’s Banquet for the Treble Violin_, Walsh’s _Division Violin_, Playford’s _Division Violin_ and _Pills to Purge Melancholy_. There are also references to it in Thomas Heywood’s _A Woman Killed with Kindness_, _Westminster Drollery_, Burton’s _Anatomy of Melancholy_, _The Scourge of Folly_, Braithwaite’s _Shepherd’s Tales_, _Tom Tiler and his Wife_, and Henry Bold’s _Songs and Poems_. Allan Cunningham quotes the parody in _The Songs of Scotland, Ancient and Modern_, as follows: John, come kiss me now, John, come kiss me now, John, come kiss me by and by, And make nae mair ado. The Lord thy God I am, That John does thee call: John represents man By grace celestial. For John Goddis grace it is, Who list till expone the same: O John, thou did amiss When that thou lost this name. My prophets call, my preachers cry John, come kiss me now John, come kiss me by and by And make nae mair ado.