(5.) The Merry Deuill of Edmonton. As it hath been sundry times Acted by his Maiesties Seruants, at the Globe, on the Bancke-side. London. Printed by T.P. for Francis Falkner, and are to be sold at his Shoppe neere vnto S. Margarites-hill, in Southwarke. 1631. 4o.
(6.) The Merry Devil of Edmonton.... London. Printed for William Gilbertson, and are to be sold at his Shop, at the Sign of the Bible, in Giltspur-street, without Newgate, 1655. 4o.[230]
INTRODUCTION.
[This play is anonymous, although some of our earlier antiquaries, such as Coxeter and Oldys, have attributed it to this or that author without the slightest authority. It was originally licensed by Sir George Buc to Joseph Hunt and Thomas Archer on the 22d October 1607. As neither of these stationers'[231] names is to the first edition, there was probably a transfer, or possibly an earlier impression than any now known. This drama was suggested by, rather than founded on, the traditional account handed down in print of Peter Fabel, popularly known as the "Merry Devil of Edmonton." In 1631 Thomas Brewer published a prose tract on the same subject.[232] "The Merry Devil of Edmonton" had been acted before 1608], being mentioned in the "Blacke Booke" by T.M., 1604. "Give him leave to see 'The Merry Devil of Edmunton, or A Woman kill'd with Kindness;'" and that it was a favourite performance, may be concluded from the following lines in Ben Jonson's Prologue to "The Devil is an Ass"—
"If you'll come
To see new plays, pray you afford us room,
And show this but the game face you have done
Your dear delight, The Devil of Edmonton. "[233]
A MS. note in Sir W. Tite's catalogue may be copied here with advantage:—"This is a dear little drama In manner it is broad and real; in situation, full of interest. The action, which is very bustling, is propelled merrily on by characters which are varied without end, and touched, the most inconsiderable of them, by strong individuality. It has been ascribed to Shakespeare, and it reminds one constantly of the Merry Wives: it is decidedly in his manner, and though there is nothing that shows his greatest strength, there is certainly nothing unworthy of him. We read it with gratification, and we rise from it with feelings of kindness towards human nature. How delightful, after the filth and atrocity which form the groundwork of so many contemporary publications!"
Hazlitt also speaks very highly of this play,[234] which he describes as "perhaps the first example of sentimental comedy we have." He adds: "'The Merry Devil of Edmonton,' which has been sometimes attributed to Shakespeare, is assuredly not unworthy of him. It is more likely, however, both from the style and subject-matter, to have been Heywood's than any other person's.... Romantic, sweet, tender, it expresses the feelings of honour, of love, and friendship in their utmost delicacy, enthusiasm, and purity."
FOOTNOTES:
[230] [In the centre is a large woodcut of a man on horseback, with two others looking at him, alluding probably to the incident regarding the sign in the latter end of the play.—Collier.]
[231] According to the Stationer's Registers (as quoted in Chalmer's "Supp. Apol." 201), this play was licensed by Sir George Buc, Master of the Revels, on the 22d October 1607.—Gilchrist.