A SELECT COLLECTION OF OLD ENGLISH PLAYS.

ORIGINALLY PUBLISHED BY ROBERT DODSLEY IN THE YEAR 1744.

FOURTH EDITION,

NOW FIRST CHRONOLOGICALLY ARRANGED, REVISED AND ENLARGED WITH THE NOTES OF ALL THE COMMENTATORS, AND NEW NOTES

BY W. CAREW HAZLITT.

BENJAMIN BLOM, INC.

New York

First published 1874-1876 Reissued 1964 by Benjamin Blom, Inc. L.C. Catalog Card No.: 64-14702

Printed in U.S.A. by NOBLE OFFSET PRINTERS, INC. NEW YORK 3, N. Y.

Table of Contents.

NEW CUSTOM. DODSLEY'S PREFACE. THE PROLOGUE. NEW CUSTOM. RALPH ROISTER DOISTER. THE PROLOGUE. RALPH ROISTER DOISTER. GAMMER GURTON'S NEEDLE. PREFACE. PROLOGUE. GAMMER GURTON'S NEEDLE. THE TRIAL OF TREASURE. MR HALLIWELL'S PREFACE. THE TRIAL OF TREASURE. LIKE WILL TO LIKE. PROLOGUE. LIKE WILL TO LIKE.

NEW CUSTOM.

A New Enterlude, no lesse wittie then pleasant, entituled new Custome, devised of late, and for diverse causes nowe set forthe, neuer before this tyme imprinted. 1573. [Col.] Imprinted at London, in Fleete strete, by William How for Abraham Veale, dwelling in Paules churche-yarde at the signe of the Lambe. 4to, B. L.

DODSLEY'S PREFACE.

I have not been able to discover who was the author of this piece. But I think it is one of the most remarkable of our ancient moralities, as it was wrote purposely to vindicate and promote the Reformation. It was printed in 1573, and contrived so that four people might act it; this was frequently done for the convenience of such as were disposed to divert or improve themselves, by representing these kinds of entertainments in their own houses.

[The authorship of "New Custom" remains undiscovered. It is a piece which may have been written a few years before it was printed, and is one of the dramatic efforts in furtherance of the Reformation. At the same time, there is no apparent foundation for the hypothesis that the morality was in existence any great length of time before the date of publication.]

THE PLAYERS' NAMES IN THIS INTERLUDE BE THESE.

FOUR MAY PLAY THIS INTERLUDE.

1. Perverse Doctrine.

{ Ignorance, 2. { Hypocrisy, { and Edification.

{ New Custom. 3. { Avarice. { Assurance.

{ Light of the Gospel. { Cruelty. 4. { God's Felicity. { The Prologue.

THE PROLOGUE.

FINIS PROLOGI.

[7]

NEW CUSTOM

ACTUS I., SCÆNA 1.

Perverse Doctrine and Ignorance enter.

[14]

ACTUS I., SCÆNA 2.

New Custom entereth alone.

ACTUS II., SCENA 1.

Light of the Gospel and New Custom enter.

[27]

ACTUS II., SCENA 2.

Hypocrisy, Perverse Doctrine, and Ignorance enter.

ACTUS II., SCENA 3.

Cruelty, Avarice enter. Perverse Doctrine and Ignorance tarry.

[42]

ACTUS III., SCENA 1.

Light of the Gospel, New Custom, Perverse Doctrine.

The second Song.

RALPH ROISTER DOISTER A COMEDY

By NICHOLAS UDALL

(1550)

[The only copy known of this admirable comedy, and that deficient of the title, was discovered in 1818, and is at present in the library of Eton College. It was reprinted in 1818, again in 1821 and 1830, and for the fourth time, with a copious account of Udall and his writings, by Mr W. D. Cooper, 1847. It was licensed and probably printed in 1566, but is quoted in Wilson's "Rule of Reason," 1551, before which date it was no doubt not only composed but performed. "Ralph Roister Doister" is the first regular comedy in our language—a place of honour long held by "Gammer Gurton's Needle," which is an inferior, as well as a later, production. Since the appearance of Mr Cooper's edition, Mr Furnivall has printed from the Royal MS. the pageant referred to at p. xiii. of Mr Cooper's introduction in one of the Ballad Society's volumes.]

THE PROLOGUE.

FINIS.

DRAMATIS PERSONÆ.[37]

RALPH ROISTER DOISTER.

ACTUS I., SCÆNA 1.

Matthew Merrygreek. He entereth singing.

[60]

ACTUS I., SCÆNA 2.

Ralph Roister Doister, Matthew Merrygreek.

ACTUS I., SCÆNA 3.

Madge Mumblecrust[64] spinning on the distaff: Tibet Talkapace sowing: Annot Alyface knitting: R. Roister behind.

Tib. Talk. So, sirrah,[69] now this gear beginneth for to frame.

M. Mumbl. Thanks to God, though your work stand still, your tongue is not lame.

M. Mumbl. Ye were not for nought named Tib Talkapace.

Tib. Talk. Doth my talk grieve you? Alack, God save your grace!

M. Mumbl. I hold a groat, ye will drink anon for this gear.

Tib. Talk. And I will not pray you the stripes for me to bear.

M. Mumbl. I hold a penny, ye will drink without a cup.

Tib. Talk. Whereinsoe'er ye drink, I wot ye drink all up.

An. Alyface. By Cock,[70] and well sewed, my good Tibet Talkapace.

Tib. Talk. And e'en as well knit, my nown Annot Alyface.

Tib. Talk. Welcome, my good wench, and sit here by me just.

An. Alyface. And how doth our old beldame here, Madge Mumblecrust?

Tib. Talk. Chide and find fault, and threaten to complain.

An. Alyface. To make us poor girls shent[71] to her is small gain.

M. Mumbl. I did neither chide, nor complain, nor threaten.

R. Roister (aside). It would grieve my heart to see one of them beaten.

[72]

M. Mumbl. I did nothing but bid her work, and hold her peace.

ACTUS I., SCÆNA IV.

Matthew Merrygreek, Dobinet Doughty, Harpax, Ralph Roister, Margery Mumblecrust.

[85]

ACTUS I., SCÆNA 5.

Christian Custance, Margery Mumblecrust.

ACTUS II., SCÆNA I.[88]

Dobinet Doughty.

ACTUS II., SCÆNA 2.

Madge Mumblecrust, Dobinet Doughty.

ACTUS II., SCÆNA 3.

TRUEPENNY, D. DOUGH., TIBET T., ANNOT AL.

ACTUS II., SCÆNA 4.

C. Custance, Tibet, Annot Alyface, Truepenny.

ACTUS III., SCÆNA 1.

Matthew Merrygreek.

ACTUS III., SCÆNA 2.

Tibet. M. Merrygreek (aside).

ACTUS III., SCÆNA 3.

Matthew Merrygreek.

ACTUS III., SCÆNA 4.

Custance, Merrygreek, Roister Doister.

ACTUS III., SCÆNA V.

Roister Doister, Matthew Merrygreek.

[122]

ACTUS IV., SCÆNA 1.

Sim. Suresby.

[123]

ACTUS IV., SCÆNA 2.

Christian Custance, Sim. Suresby.

[124]

ACTUS IV., SCÆNA 3.

Christian Custance, Sim. Suresby, Ralph Roister, Matthew Merrygreek, Truepenny.

ACTUS IV., SCÆNA 4.

Christian Custance, Annot Alyface, Tibet Talkapace, M. Mumblecrust.

[132]

ACTUS IV., SCÆNA 5.

Christian Custance, Truepenny, Tristram Trusty.

[135]

ACTUS IV., SCÆNA 6.

Merrygreek, Christian Custance, Trist. Trusty.

ACTUS IV., SCÆNA 7.

R. Roister, M. Merrygreek, C. Custance, D. Doughty, Harpax, Tristram Trusty.

[144]

ACTUS IV., SCÆNA 8.

M. Merrygreek, C. Custance, R. Roister, Tib. T., An. Alyface, M. Mumblecrust, Truepenny, Dobinet Doughty, Harpax.

Two drums with their Ensigns.

ACTUS V., SCÆNA 1.

Gawin Goodluck, Sim. Suresby.

ACTUS V., SCÆNA 2.

C. Custance, Gawin Goodluck, Sim. Suresby.

ACTUS V., SCÆNA 3.

Christian Custance.

ACTUS V., SCÆNA 4.

Gawin Goodluck, Tristram Trusty, C. Custance, Sim. Suresby.

ACTUS V., SCÆNA 5.

M. Merrygreek, Ralph Roister [to them], Gawin Goodluck, Tristram Trusty, C. Custance.

ACTUS V., SCÆNA 6.

R. Roister, M. Merrygreek, C. Custance, G. Goodluck, T. Trusty, D. Doughty, Harpax.

Certain Songs[177] to be sung by those which shall use this Comedy or Interlude.

The Second Song.

The Fourth Song.

The Psalmody.

FINIS

GAMMER GURTON'S NEEDLE.

A Ryght Pithy, Pleasaunt, and merie Comedie: Intytuled Gammer gurtons Needle: Played on Stage not longe ago in Christes Colledge in Cambridge. Made by Mr S. Mr. of Art. Imprynted at London, in Fleetestreat beneth the Conduit at the signe of S. John Euangelist, by Thomas Colwell. 1575. 4º. Black letter.

There was a second edition, 4to, 1661, which is of no value.

[I found this introduction to "Gammer Gurton's Needle" among some collections made by my father about twenty years ago for a similar purpose, and as it was much fuller than that previously printed, it has been substituted. I have, however, introduced a few additions from the Memoirs of Still in the "Athenæ Cantabrigienses," ii., 467, and the "Proceedings of the Suffolk Institute of Archæology," iii., 130, the latter kindly communicated to me by Mr Joseph Bryant, of Cheshunt.—W. C. H.

[165]

PREFACE.

John Still, the reputed author of this play, was the only son of William Still, Esq. of Grantham, in Lincolnshire, and was born in or about 1543. In 1559 he matriculated as a pensioner in Christ's College, Cambridge, proceeded B.A. in 1561-2, and was elected M.A. in 1565. In 1570 he was presented to the rectory of St Martin Outwich, London, and in the same year proceeded B.D. On the 30th July 1571, Archbishop Parker collated Still to the rectory of Hadleigh, in Suffolk, and in 1572 the primate, to whom he was chaplain, appointed him, with Dr Watts, Joint-Dean of Bocking. Other church preferments followed in quick succession; but this is perhaps scarcely a place for entering at large into biographical particulars, more especially as the authorship of the drama is a little uncertain. We must content ourselves with noting his gradual rise from the deanery of Bocking to the canonry at Westminster, the mastership of St John's College, Cambridge, the vice-chancellorship of the university on two occasions, the mastership of Trinity College, Cambridge,[166]

and finally, the bishopric of Bath and Wells, to which last dignity he was named 16 January 1592-3. He died at the episcopal palace at Wells, February 26, 1607-8, and was buried, on the 4th April following, in the cathedral, where a handsome monument was erected to his memory. He was twice married, and left behind him several children. His excellent character is attested by Sir John Harington, who says that he was a man "to whom I never came but I grew more religious, and from whom I never went but I parted more instructed." The comedy of "Gammer Gurton's Needle," the only dramatic product of his pen of which we have any knowledge, was "played on stage, in Christ's College, Cambridge," in the year 1566, and the following entry from the bursars' books of that college, on the occasion, manifests that the authorities applied themselves to its production with spirit. "Item, for the Carpenters setting upp the Scaffold at the plaie xxd.[181]" At this time, Mr Still was twenty-three years old; but an entry in the registers of the Stationers' Company, under the year 1563, is considered

by Mr Collier to have very possible reference to the present comedy, and, in this case, the young clergyman would have begun, and ended, his authorship ere he was nineteen: "Received of Thomas Colwell for his lycense for pryntinge of a play intituled Dyccon of Bedlam, iiijd." There is no such play, Mr Collier points out, as "Dyccon of Bedlam," but Diccon of Bedlam is[167] a principal character in "Gammer Gurton's Needle;" and it is further to be observed that Thomas Colwell is the same publisher, "at the sygne of S. John Evangelist, beneth the Conduit in Fleetestreat," by whom the earliest known edition of the present comedy was produced. The circumstance, after all, is as inconclusive as the fact is immaterial. The true subject of regret is, not that we cannot determine precisely whether Still wrote comedy when he was nineteen, or when he was twenty-three, but that having written one play so well, he did not write more. Had he so elected to do, indeed, the See of Bath and Wells might not have seen the name of Still in its Catena Episcoporum, but the other prelate would,

doubtless, have done his duty, and English readers would have been amused with further Gammer Gurtons.

"Gammer Gurton's Needle," acted at Christ's College, Cambridge, in 1566, "has," writes Mr Collier, "this peculiarity belonging to it, that it is the first existing play acted at either university; and it is a singular coincidence, that the author of the comedy so represented should be the very person who, many years afterwards, when he had become Vice-Chancellor of Cambridge, was called upon to remonstrate with the Ministers of Queen Elizabeth against having an English play performed before her at that university, as unbefitting its learning, dignity, and character."[182] Of the play itself Hazlitt writes: "It is a regular comedy in five acts, built on the circumstance of an old woman having lost[168] her needle, which throws the whole village into confusion, till it is at last providentially found sticking in an unlucky part of Hodge's dress. This must evidently have happened at a time when the manufacturers of Sheffield and Birmingham had not reached the height of perfection which they have at present done. Suppose that there is only one sewing-needle in a parish,

that the owner, a diligent, notable old dame, loses it; that a mischief-making wag sets it about that another old woman has stolen this valuable instrument of household industry; that strict search is made in-doors for it in vain, and that then the incensed parties sally forth to scold it out in the open air, till words end in blows, and the affair is referred over to higher authorities; and we shall have an exact idea (though perhaps not so lively a one) of what passes in this authentic document between Gammer Gurton and her gossip Dame Chat; Diccon, the bedlam (the causer of these harms); Hodge, Gammer Gurton's servant; Tib, her maid; Cock, her prentice boy; Doll; Scapethrift; Master Baillie, his master; Doctor Rat, the curate; and Gib the cat, who may be fairly reckoned one of the dramatis personæ, and performs no mean part." "Such," observes the same critic, further on, characterising the comedy, "Such was the wit, such was the mirth of our ancestors—homely, but hearty; coarse, perhaps, but kindly; let no man despise it; for "evil to him that evil thinks."

To think it poor and beneath notice, because it is not just like ours, is the same sort of hypercriticism that was exercised by the person who refused to read some[169] old books because they were "such very poor spelling." The meagreness of their literary or their bodily fare was at least relished by themselves; and this is better than a surfeit or an indigestion. It is refreshing to look out of ourselves sometimes, not to be always holding the glass to our own peerless perfections; and as there is a dead wall which always intercepts the prospect of the future from our view (all that we can see beyond it is the heavens), it is as well to direct our eyes now and then without scorn to the page of history; and repulsed in our attempts to penetrate the secrets of the next six thousand years, not to turn our backs on old long syne."[183]

This entertaining old piece is mentioned in "Histriomastix," 1610, act ii. (sign. C. 3), under the title of "Mother Gurton's Needle," and in burlesque it is there called "a Tragedy."

The present edition of "Gammer Gurton's Needle" is printed from that of 1575.

[170]

THE NAMES OF THE SPEAKERS IN THIS COMEDY.

[172]

PROLOGUE

GAMMER GURTON'S NEEDLE.

THE FIRST ACT.

THE FIRST SCENE.

THE FIRST ACT.

THE SECOND SCENE.

Hodge, Diccon.

[179]

THE FIRST ACT.

THE THIRD SCENE.

Hodge, Tib.

THE FIRST ACT.

THE FOURTH SCENE.

Gammer, Hodge, Tib, Cock.

[185]

THE FIRST ACT.

THE FIFTH SCENE.

Gammer, Tib, Cock, Hodge.

[189]

THE SECOND ACT.

First a Song.[204]

THE FIRST SCENE.

Diccon, Hodge.

THE SECOND ACT.

THE SECOND SCENE.

Diccon, Chat.

THE SECOND ACT.

THE THIRD SCENE.

Hodge, Diccon.

[207]

THE SECOND ACT.

THE FOURTH SCENE.

Diccon, Gammer.

THE SECOND ACT.

THE FIFTH SCENE.

THE THIRD ACT.

THE FIRST SCENE.

THE THIRD ACT.

THE SECOND SCENE.

Gammer, Hodge.

THE THIRD ACT.

THE THIRD SCENE.

Gammer, Chat, Hodge.

THE THIRD ACT.

THE FOURTH SCENE.

Tib, Hodge, Gammer, Cock.

THE FOURTH ACT.

THE FIRST SCENE.

Doctor Rat, Gammer Gurton.

THE FOURTH ACT.

THE SECOND SCENE.

Hodge, Doctor Rat, Gammer, Diccon, Chat.

THE FIFTH ACT.

THE FIRST SCENE.

Master Baily, Doctor Rat.

THE FIFTH ACT.

THE SECOND SCENE.

M. Baily, Chat, D. Rat, Gammer, Hodge, Diccon.

FINIS

THE TRIAL OF TREASURE

EDITION.

A New and Mery Enterlude called the Triall of Treasure, newly set foorth, and neuer before this tyme imprinted.

THE NAMES OF THE PLAYERS.

Imprinted at Londǒ in Paules Churcheyarde, at the signe of the Lucrece, by Thomas Purfoote. 1567. 4º. Black letter.

MR HALLIWELL'S PREFACE.[314]

The interlude, presented to the modern reader for the first time in the following pages, was printed from a copy formerly in the possession of Steevens, the eminent Shakspearian critic, before it was noticed that a copy in the British Museum contained several variations and superior readings.[315] These were the more important, settling in some places the distribution of the speeches with greater accuracy than they were arranged in the exemplar we used. Perhaps, indeed, this may in some measure have arisen from the one last mentioned having [260]been what booksellers technically term "cropped," but we have noticed all variations of importance in the notes, and some of them seem incompatible with any supposition, except that there were two different impressions in the same year,[316] or that the Museum copy had been corrected while the work was in the press.

Mr Collier conjectures that the "Trial of Treasure" was written some years before it was printed, but subsequently to the composition of "Lusty Juventus," which is, he says, "mentioned in it." But it appears to me that the allusion to "Lusty Juventus" [p. 263], is merely a generic proverbial title, and has no reference whatever to the old play so called. Mr Collier ("Hist. Dram. Poet." ii., 330), has given a brief analysis of the interlude now reprinted.

December 21, 1849.

THE TRIAL OF TREASURE.

——♦——

Do all things to edify the Congregation.

Enter Lust, like a gallant, singing this song.

LIKE WILL TO LIKE

EDITIONS.

An Enterlude Intituled Like wil to like quod the Deuel to the Colier, very godly and ful of pleasant mirth. Wherin is declared not onely what punishment followeth those that wil rather followe licentious liuing, then to esteeme & followe good councel: and what great benefits and commodities they receiue that apply them vnto vertuous liuing and good exercises. Made by Vlpian Fulwel. Imprinted at Lǒdon at the long shop adioyning vnto S. Mildreds Churche in the Pultrie by Iohn Allde. Anno Domini 1568. 4º. Black letter.

A Pleasant Interlude, &c. London. Printed by Edward Allde, &c. 1587. 4º. Black letter.

A copy of the latter is among Garrick's books at the Museum.

Of another production by this writer, not of a dramatic character, an account will be found in Mr Collier's "Bibliographical Catalogue," 1865. "Like will to Like" was Fulwell's only performance in this direction, and is now first reprinted from a copy of the 4to of 1568 in the Malone collection at Oxford. Both editions are of the highest rarity.

THE NAMES OF THE PLAYERS.

Five may easily play this Interlude.

THE PROLOGUE.

LIKE WILL TO LIKE.

[Here entereth Nichol Newfangle the Vice, laughing, and hath a knave of clubs in his hand which, as soon as he speaketh, he offereth unto one of the men or boys standing by.

Trim mer-chandise, trim trim: trim mer-chandise, trim trim.

END OF VOL. III.

FOOTNOTES:

[1] A cheating bully, so called in several Acts of Parliament during the reign of King Henry the Eighth.—S.

[2] A common proverb, of which there are varying versions; but the original is quot homines, &c.

[3] Merchant was anciently used as we now use the word chap. See note on "Romeo and Juliet," A. 2, S. 4.—Steevens.

[4] Cowle or rather coll [Coll] I suppose to be the name of the dog.—Steevens.

Cowle my dog, I am inclined to believe, means put a cowl or hood on a dog, and he will be as learned as a friar: the contempt into which the order had at this period fallen will at least countenance the explanation, if it should not be thought sufficient to prove it. I once was of opinion, that there might be an allusion to the case of one Collins, a crazy man, who seeing a priest hold up the host over his head, lifted up a dog in the same manner, for which both he and the animal were burnt in 1538. See Fox, vol. ii. 436.

My conjecture requires a little explanation. The speaker means to say, "If the New Testament is fit for the use of boys, so likewise is it adapted equally to the conception of Coll my dog. The one will understand and make a proper use of it as soon as the other."—Steevens. [What will be thought of the preceding note, I hardly know; the text is the clearer.]

[5] By the Stat. 33 Hen. VIII. c. 9, s. 16, a penalty is imposed on certain persons therein mentioned, who should play at the tables, tennis, dice, cards, bowls, clash, coyting, logating, or other unlawful game.