If a country thus planted and adorned, thus polished and civilised, thus improved to the height by all manner of culture for the support and sustenance and convenient entertainment of innumerable multitudes of people, be not to be preferred before a barbarous and inhospitable Scythia, without houses, without plantations, without corn-fields or vineyards, where the roving hordes of the savage and truculent inhabitants transfer themselves from place to place in waggons, as they can find pasture and forage for their cattle, and live upon milk, and flesh roasted in the sun at the pommels of their saddles; or a rude and unpolished America, peopled with slothful and naked Indians, instead of well-built houses living in pitiful huts and cabins, made of poles set endwise; then surely the brute beast's condition and manner of living, to which what we have mentioned doth nearly approach, is to be esteemed better than man's, and wit and reason was in vain bestowed on him. The Merry Devil of Edmonton. ANONYMOUS. [CHARLES LAMB, who speaks of this play with a warmth of admiration which is probably carried a little too far, and which, indeed, may in some degree be attributed to his familiarity with the quiet rural scenery of Enfield, Waltham, Cheshunt, and Edmonton, in which places the story is laid, says, "I wish it could be ascertained that Michael Drayton was the author of this picce it would add a worthy appendage to the renown of that panegyrist of my native earth; who has gone over her soil (in his 'Polyolbion') with the fidelity of a herald, and the painful love of a son; who has not left a rivulet (so narrow that it may be stepped over) without honourable mention; and has animated hills and streams with life and passion above the dreams of old mythology." Some have attributed this play to Shakspere. "The Merry Devil" was undoubtedly a play of great popularity. We find, from the account-books of the Revels at court, that it was acted before the king in the same year, 1618, with "Twelfth-Night" and "Winter's Tale." In 1616, Ben Jonson, in his prologue to "The Devil is an Ass," thus addresses his audience : Its popularity seems to have lasted much longer; for it is mentioned by Ed. mund Gayton, in 1654, in his "Notes on Don Quixote." The belief that the play was Shakspere's has never taken any root in England. Some of the recent German critics, however, adopt it as his without any hesitation. Fuller, in his "Worthies," thus records the merits of Peter Fabel, the hero of this play :-"I shall probably offend the gravity of some to insert, and cer tainly the curiosity of others to omit him. Some make him a friar, others a lay gentleman, all a conceited person, who, with his merry devices, deceived the devil, who by grace may be resisted, not deceived by wit. If a grave bishop in his sermon, speaking of Brute's coming into this land, said it was but a bruit, I hope I may say without offence that this Fabel was but a fable, supposed to live in the reign of King Henry the Sixth." His fame is more confidingly recorded in the prologue to "The Merry Devil :”]— 'Tis Peter Fabel, a renowned scholar, In Middlesex his birth and his abode, Not full seven miles from this great famous city; If any here make doubt of such a name, In Edmonton, yet fresh unto this day, Fix'd in the wall of that old ancient church, His monument remaineth to be seen: His memory yet in the mouths of men, That whilst he lived he could deceive the devil. The prologue goes on to suppose him at Cambridge at the hour when the term of his compact with the fiend is run out. We are not here to look for the terrible solemnity of the similar scene in Marlowe's "Faustus;" but, nevertheless, that before us is written with great poetical power. Coreb, the spirit, thus addresses the magician : Coreb. Why, scholar, this is the hour my date expires; I must depart, and come to claim my due. Fabel. Hah! what is thy due? Coreb. Fabel, thyself. Fabel. Oh let not darkness hear thee speak that word, Lest that with force it, hurry hence amain, And leave the world to look upon my woe: Yet overwhelm me with this globe of earth, And let a little sparrow with her bill I may again, in time, yet hope to rise. While the fiend sits down in the necromantic chair, Fabel thus solilo quises : Fabel. Oh that this soul, that cost so dear a price When men in their own praise strive to know more For this alone God cast the angels down. The infinity of arts is like a sea, Into which when man will take in hand to sail Man, striving still to find the depth of evil, But the magician has tricked the fiend; the chair holds him fast, and the condition of release is a respite for seven years. The supernatural part of the play may be said here to end, and we are introduced to the society of no equivocal mortal, the host of the George, at Waltham. Sir Arthur Clare, his wife Dorcas, his daughter Millisent, and his son Harry, arrive at the inn, where the host says, "Knights and lords have been drunk in my house, I thank the destinies." This company have arrived at the George to meet Sir Richard Mounchensey, and his son Raymond, to whom Millisent is betrothed; but old Clare informs his wife that he is resolved to break off the match, to send his daughter for a year to a nunnery, and then to bestow her upon the son of Sir Ralph Jerningham. Old Mounchensey, it seems, has fallen upon evil days : Clare, For look you, wife, the riotous old knight In keeping jolly Christmas all the year: With smoke, more chargeable than cane-tobacco; That (you conceive me) before gods, all's nought, You'll see a flight, wife, shortly of his land. Fabel, the kind magician, who has been the tutor to Raymond, arrives at the same time with the Mounchensey party. He knows the plots against his young friend, and he is determined to circumvent them: Raymond Mounchensey, boy, have thou and I Watch'd on the top of Peter-house highest tower, He shall cross the devil that but crosses me. Harry Clare, Ralph Jerningham, and Raymond Mounchensey, are strict friends: and there is something exceedingly delightful in the manner in which * Envil-Enfield. Raymond throws away all suspicion, and the others resolve to stand by their friend whatever be the intrigues of their parents: Jern. Raymond Mounchensey, now I touch thy grief Where'er didst meet me, that we two were jovial, Before I'd wrong the chase, and leave the love I will abjure both beauty and her sight, Moun. Dear Jerningham, thou hast begot my life, |