The Witch of Edmonton

"The Witch of Edmonton" is an English Jacobean play, written by William Rowley, Thomas Dekker and John Ford in 1621.

The play—"probably the most sophisticated treatment of domestic tragedy in the whole of Elizabethan-Jacobean drama" [Logan and Smith, p. 15.] —is based on supposedly real-life events that took place in the village of Edmonton, outside London, earlier in the year. The play depicts Elizabeth Sawyer, an old woman shunned by her neighbours, who gets revenge by selling her soul to the Devil, who appears to her in the shape of a black dog called Tom. In addition, there are two subplots. One depicts a bigamist who murders his second wife at the devil's prompting, and the other depicts a clownish yokel who befriends the devil-dog.

Date

A collaborative piece, the play was first acted by Prince Charles's Men at the Cockpit Theatre in 1621 (there is a record of a performance at Court on 29 December of that year). When first acted, it was a topical play, for Elizabeth Sawyer, the real-life model of the eponymous witch, had been executed on 19 April 1621.

The play was not published until 1658. It was entered into the Stationers' Register on May 21 of that year; the edition that followed was issued by the bookseller Edward Blackmore. The title page of the first edition attributes the play to "divers well-esteemed Poets; William Rowley, Thomas Dekker, John Ford, &c." [Chambers, Vol. 3, p. 298.] Scholars have generally ignored the "et cetera" and assigned the play to the three named playwrights—though a few have noted that the three writers were working with John Webster at the time, on "Keep the Widow Waking," and have suggested that the "&c." might stand for Webster. [Logan and Smith, p. 29.]

tory and themes

The play draws heavily on a pamphlet by Henry Goodcole, "The wonderful discoverie of Elizabeth Sawyer, Witch" (1621), but takes a rather different attitude. Goodcole's witch is simply a bad woman, who has no particular need to seek magical aid since she has a husband to support her and a family. The Sawyer of the play, however, is a poor, lonely, and unfairly ostracized old woman, who does not turn to witchcraft until after she has already been unjustly accused of it, having nothing left to lose. The talking devil-dog Tom (performed by a human actor) becomes her familiar and only friend. With Tom's help, Sawyer causes one of her neighbours to go mad and kill herself, but otherwise she does not achieve very much, since many of those around her are only too willing to sell their souls to the devil all by themselves.

The severely limited extent of Sawyer's influence and power is underlined by the fairly rigid division of the play into separate plots, which only occasionally intersect or overlap. The other major plotline is a domestic tragedy centering on the farmer's son Frank Thorney. Frank is secretly married to the poor but virtuous Winnifride, whom he loves, but his father insists that he marry Susan, elder daughter of the wealthy farmer Old Carter. Frank weakly gives in to a bigamous marriage but then tries to flee the county with Winnifride disguised as his page. When the doting Susan follows him, he stabs her. At this point, the witch's dog Tom is present on stage and it is left ambiguous whether Frank remains a fully responsible moral agent in the act. Frank inflicts superficial wounds on himself, so that he can pretend to have been attacked, and attempts to frame Warbeck and Somerton, suitors of Susan's younger sister Katherine. While the kindly Katherine is nursing her supposedly incapacitated brother-in-law, however, she finds a bloodstained knife in his pocket and immediately guesses the truth, which she reveals to her father. The devil-dog is on stage again at this point, and "shrugs for joy," according to the stage direction, which suggests that he has brought about Frank's downfall.

Frank is executed for his crime at the same time as Mother Sawyer, but he, in marked contrast to her, is forgiven by all and the pregnant Winnifride is taken into the family of Old Carter. The play thus ends on a relatively happy note—Old Carter enjoins all those assembled at the execution, “So, let's every man home to Edmonton with heavy hearts, yet as merry as we can, though not as we would.”

The note of optimism is also heard in the play's other main plot, centering on the Morris dancing yokel Cuddy Banks, whose invincible innocence allows him to emerge unscathed from his own encounters with the dog Tom; he eventually banishes the dog from the stage with the words "Out, and avaunt!"

Despite the optimism of the play's ending it remains clear that the execution of Mother Sawyer has done little or nothing to purge the play's world of an evil to which its inhabitants are only too ready to turn spontaneously. Firstly, the devil-dog has not been destroyed, and indeed resolves to go to London and corrupt souls there. Secondly, the village's voice of authority, the lord of the manor Sir Arthur Clarington, is represented as untrustworthy, and Mother Sawyer utters a lengthy tirade indicting his lechery (he has previously had an affair with Winnifride, which she now repents) and general corruption, a charge which the play as a whole supports.

"The Witch of Edmonton" may be very ready to capitalize on the sensational story of a witch, but it does not permit an easy and comfortable demonization of her; it presents her as a product of society rather than an anomaly in it.

ee also

* "The Witch"
* "The Late Lancashire Witches"

Notes

References

* Chambers, E. K. "The Elizabethan Stage." 4 Volumes, Oxford, Clarendon Press, 1923.
* Logan, Terence P., and Denzell S. Smith, eds. "The Popular School: A Survey and Bibliography of Recent Studies in English Renaissance Drama." Lincoln, NE, University of Nebraska Press, 1975.