The Epilogue at Court410
1st O. Man. Nay stay, poor pilgrims, when I entered first
The circle of this bright celestial sphere,
I wept for joy, now I could weep for fear.
2nd O. Man. I fear we all like mortal men shall prove
Weak, not in love, but in expressing love.
1st O. Man. Let every one beg once more on his knee,
One pardon for himself, and one for me;
For I enticed you hither. O dear Goddess,
Breathe life in our numbed spirits with one smile,
And from this cold earth, we with lively souls,
Shall rise like men new-born, and make Heaven sound
With hymns sung to thy name, and prayers that we
May once a year so oft enjoy this sight,
Till these young boys change their curled locks to white,
And when gray-wingèd age sits on their heads,
That so their children may supply their steads,
And that Heaven’s great arithmetician,
Who in the scales of number weighs the world,
May still to forty-two add one year more,
And still add one to one, that went before,
And multiply four tens by many a ten:
To this I cry, Amen.
All. Amen, amen!
1st O. Man. Good-night, dear mistress, those that wish thee harm,
Thus let them stoop under destruction’s arm.
All. Amen, amen, amen! [Exeunt.
The Witch of Edmonton, which was probably first performed in 1623, was not published until thirty-five years later, in 1658. It was then issued in the usual quarto form, with the title: The Witch of Edmonton: “A known True Story. Composed into a Tragi-Comedy by divers well-esteemed Poets, William Rowley, Thomas Dekker, John Ford, &c. Acted by the Prince’s Servants, often at the Cock-Pit in Drury-Lane, once at Court, with singular Applause.” The best modern reprint of the play is that in the Gifford-Dyce edition of Ford, upon which the present version is based.
It is impossible to assign the exact share of the various authors in the play. The business of the Witch, the rustic chorus, and certain other parts mark themselves out as mainly Dekker’s. The conception of Sir Arthur Clarington, and the subsidiary domestic plot is no doubt mainly Ford’s. Rowley’s share is more difficult to ascertain. The intimate collaboration of all three can alone be held accountable for some of the scenes, and indeed in even the passages most characteristic of any one of the authors, the touch of another often shows itself in a chance word or phrase.
The justification for the description of the play as “A known true story” is a pamphlet written by Henry Goodcole, and published at London in 1621, giving an account of one Elizabeth Sawyer, late of Islington, who was “executed in 1621 for witchcraft.” See Caulfield’s “Portraits, Memoirs, and Characters of Remarkable Persons,” 1794. No existing copy of the pamphlet is known, but the British Museum possesses copies of two of Goodcole’s other pamphlets on similar subjects.
The town of Edmonton hath lent the stage
A Devil411 and a Witch, both in an age.
To make comparisons it were uncivil
Between so even a pair, a Witch and Devil;
But as the year doth with his plenty bring
As well a latter as a former spring,
So hath this Witch enjoyed the first, and reason
Presumes she may partake the other season:
In acts deserving name, the proverb says,
“Once good, and ever;” why not so in plays?
Why not in this? since, gentlemen, we flatter
No expectation; here is mirth and matter.
MASTER BIRD.
The whole argument of the play is this distich.
Forced marriage, murder; murder blood requires:
Reproach, revenge; revenge hell’s help desires.
Sir Arthur Clarington.
Old Thorney, a Gentleman.
Carter, a Rich Yeoman.
Warbeck, } Suitors To Carter’s Daughters.
Somerton,
Frank, Thorney’s Son.
Old Banks, a Countryman.
Cuddy Banks, his Son.
Ratcliffe, } Countrymen.
Hamluc,
Morris-dancers.
Sawgut, an old Fiddler.
A Dog, a Familiar.
A Spirit.
Countrymen, Justice, Constable, Officers, Serving-men and Maids.
Mother Sawyer, the Witch.
Ann, Ratcliffe’s Wife.
Susan, } Carter’s Daughters.
Katherine,
Winnifred, Sir Arthur’s Maid.
SCENE—The town and neighbourhood of Edmonton; in the
end of the last act, London.