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EDITIONS.

For the titles of the two old copies, see Hazlitt’s “Handbook,” p. 177.

MR HAZLITT’S PREFACE. [1]

Richard Edwards (the elder), a Somersetshire man, was born about the year 1523, and is said to have received his education at Corpus Christi College, Oxford, whence “in youthful years,” as he himself narrates, in the “Paradise of Dainty Devices,” but not until after August 1544, “his young desires pricked him forth to serve in court, a slender, tall young man.” What his service at court may have been, does not appear, and he relinquished it for a time in 1547, when he was nominated a Senior Student of Christ Church, Oxford, then newly founded by Henry VIII., and created M.A. Here, among other studies, he applied himself to that of music, under George Etheridge, with a view, probably, to further service at court. On his return to London, he entered himself of Lincoln’s Inn, and ultimately was constituted by Queen Elizabeth a Gentleman of the Chapel Royal, and, in 1561, Master of the Children or singing boys of that establishment. Warton, after stating that Edwards “united all those arts and accomplishments which minister to popular pleasantry,” which may be very true, adds what (as Collier points out) is unquestionably a mistake, that the children of the chapel were first formed by him into a company of players; for they had regularly acted plays long before.

In 1566, Edwards attended the Queen in her visit to Oxford, where he composed a play called “Palamen and Arcite,” which was acted before Her Majesty in Christ Church Hall.

Stow, in his “Chronicle,” mentions the name of the play, and adds that “it had such tragical success as was very lamentable; for at that time, by the fall of a wall and a paire of staires & great prese (press) of the multitude, three men were slain.” “At night” (Sept. 2[2]), writes Anthony Wood, “the Queen heard the first part of an English play, named Palamon & Arcyte, made by M. Richard Edwards, a gentleman of her Chapel, acted with very great applause, in Christ Church Hall, at the beginning of which play, there was, by part of the stage which fell, three persons slain, besides five that were hurt. Afterwards the actors performed their parts so well, that the Queen laughed heartily thereat, and gave the author of the play great thanks for his pains” (quoted by Collier, “Annals of the Stage,” i., 191). “Her Majesty also presented eight guineas to one of the young performers who gave her peculiar satisfaction. It is fair to add, in behalf of good Queen Bess, that from Peshall’s ‘History of the University,’ it would seem that the Queen was not present on the occasion of the accident.” He died on the 31st October in the same year, according to Hawkins; and in Turbervile’s Poems, printed in 1567, are two elegiac compositions on his decease, one by Turbervile himself, the other by Thomas Twine, the translator of Virgil.[3]

“Edwards,” writes Collier,[4] “enjoyed a very high reputation as a dramatic poet, but he seems to have owed much of it to the then comparative novelty of his undertakings.” Thomas Twine, in an epitaph upon his death, calls him—

“The flower of our realm

And Phœnix of our age,”

and specifically mentions two of his plays, “Damon and Pythias” and “Palamon and Arcyte,” adding, however, that he had written more equally fit for the ears of princes—

“Thy tender Tunes and Rimes

Wherein thou woont’st to play,

Eche princely Dame of Court and Towne,

Shall beare in minde alway.

Thy Damon and his Friend,

Arcyte and Palemon,

With moe full fit for princes’ eares,

Though thou from earth art gone,

Shall still remain in fame,” &c.

He is mentioned in Webbe’s “Discourse of English Poetry,” 1586, and Puttenham, in his “Art of English Poesie,” 1589, tells us that the Earl of Oxford (of whose dramatic productions there is no other trace) and Edwards deserve the highest prize for “comedy and interlude; and Lord Buckhurst and Master Edward Ferrys [George Ferrers] for tragedy.” Meres, in his “Palladis Tamia,” 1598, repeats the applause given by Puttenham, with the omission of the word “interlude,” then out of fashion, terming Edwards “one of the best for comedy.”

“The earliest notice we have of Edwards as a dramatic poet,” continues Collier, “occurs in 1564-5, when a tragedy by him, the name of which is not given, was performed by the children of the chapel, under his direction, before the Queen at Richmond. This might possibly be his ‘Damon and Pythias,’ termed by Lord Burghley, in the uncertain phraseology of that time, ‘a tragedy,’ or it might be one of the other dramatic performances of which, according to Twine, Edwards was the author. ‘Damon and Pythias,’ however, is the only extant specimen of his talents in this department of Poetry.” Besides his dramatic productions, Edwards was the author of several poems in “The Paradyse of Daynty Devises” (1576), the sundry pithie and learned inventions of which, indeed, are announced in the title to have been “devised and written for the most part by M. Edwards, sometime of her Majesties Chapel.” Two of these learned inventions are given by Ellis, in his “Specimen of Early English Poets,” vol. ii., and one of them in especial has aroused the enthusiasm of Mr Haslewood by the happiness of the illustration, the facility, elegance, and tenderness of the language, and the exquisite turn of the whole.[5] “When he was in extremitie of his sickness,” writes Wood, narrating our author’s death, “he composed a noted poem, called ‘Edwards’ Soul Knil’ (knell), or the ‘Soul Knil of M. Edwards,’ which was commended for a good piece. In support of this tradition, Anthony quotes Gascoigne, whereas Gascoigne, on the contrary, only refers to the story for the purpose of ridiculing the idea that the ‘Knil’ was written under any such circumstances.”[6]

Among the Cotton MSS. in the British Museum are four poems by Edwards, one of which is addressed to some court beauties of his time;[7] one of these also is given by Mr Ellis in his “Specimens.” A part of his song “In Commendation of Musick,” in the “Paradise of Dainty Devices,” is given by Shakespeare, “Romeo and Juliet,” act iv., sc. 5: “Where gripyng grief the hart would wound,” &c. Ritson mentions “An Epytaphe of the lord of Pembroke” by Mr Edwards (1569-70); but this is merely said to be written by a Mr Edwardes, and was not, at any rate, from the pen of the author of “Damon and Pithias.”[8]

“Among the books of my friend, the late Mr William Collins, of Chichester, now dispersed,” writes Warton,[9] “was a collection of short comic stories in prose, printed in the black letter, and, in the year 1570, ‘Set forth by Maister Richard Edwardes, Mayster of Her Maiesties Revels.’ There is a mistake in assigning this office to Edwards, for Sir Thomas Cawarden and Sir Thomas Benger were successively Masters of the Revels in our author’s time. However, among these tales was that of the ‘Induction of the Tinker’ in Shakespeare’s ‘Taming of the Shrew;’ and perhaps,” writes Warton, “Edwards’ story book was the immediate source from which Shakespeare, or rather, the author of the old ‘Taming of the Shrew’ drew that diverting apologue.”

The drama here reprinted from the earliest known edition of 1571,[10] collated with that of 1582, may have been the same as the tragedy performed before Queen Elizabeth by the children of the chapel at Christmas, 1564-5. “Although,” writes Collier, “Edwards continued in this play to employ rhymes, he endeavoured to get rid of some part of its monotony, by varying the length of his lines, and by not preserving the cæsura. It was nearly new, at the date when this piece was written, to bring stories from profane history upon the stage. ‘Damon and Phythias’ was one of the earliest attempts of the kind; and at any other period, and without the Queen’s extraordinary commendation, it may at least be doubted whether Edwards would have acquired an equal degree of notoriety.[11]

THE SPEAKERS’ NAMES.

 Aristippus, a Pleasant Gentleman.

 Carisophus, a Parasite.

 Damon, Two Gentlemen of Greece.

 Pithias,

 Stephano, Servant to Damon and Pithias.

 Will, Aristippus’ Lackey.

 Jack, Carisophus’ Lackey.

 Snap, the Porter.

 Dionysius, the King.

 Eubulus, the King’s Councillor.

 Gronno, the Hangman.

 Grim, the Collier.