Part 1

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GAMMER GURTON'S NEEDLE

The Museum Dramatists

No. 1

The Museum Dramatists

GAMMER GURTON'S NEEDLE

_Edited, with an Introduction, Note-Book, and Word-List._

BY JOHN S. FARMER

"THE PITH AND POINT OF THE PLAY, SIR!"

"Gammer Gurton's Needle _was the first to gather the threads of farce ... interlude, and ... school play into a well-sustained comedy of rustic life_ [_with_] _the rollicking humour of the ... Bedlem; the pithy and saline interchange of feminine amenities; the ... Chaucerian, laughter,--not sensual but animal; the delight in physical incongruity; the mediæval fondness for the grotesque. If the situations are farcical, they ... hold together; each scene tends towards the climax of the act, and each act towards the dénouement. The characters are both typical and individual; and ... the execution is an advance because it smacks less of the academic. Gammer Gurton carries forward the comedy of mirth._"--C. Mills Gayley, Litt.D., LL.D., Professor of the English Language and Literature in the University of California.

The Museum Dramatists.

GAMMER GURTON'S NEEDLE

BY MR. S., MR. OF ART

[_c._ 1562]

Published by GIBBINGS & CO. for the EARLY ENGLISH DRAMA SOCIETY 18. Bury St. (Near British Museum), London, W.C.

MCMVI

INTRODUCTION

In 1782 Isaac Reed attributed _Gammer Gurton's Needle_ to a Dr. John Still, who, in 1563, was raised to the see of Bath and Wells. His reasons for doing this are, on examination, found to be somewhat inconclusive. It seems that he discovered in the accounts of Christ's College an entry referring to a play acted at Christmas, 1567 (not 1566, as he states), and, as this is the latest entry of the kind occurring before 1575--the date of publication--he inferred that it related to the representation of _Gammer Gurton's Needle_, which in Colwell's title-page (see facsimile on page 1) was stated to have taken place "not longe ago." The only Master of Arts of the college then living whose surname began with S, that he was able to find, was John Still, whom he therefore confidently identified with the "Mr. S." who is said to have written _Gammer Gurton's Needle_.

Curiously enough, another Church dignitary has shared with Dr. Still the attributed authorship of, as Dr. Bradley expresses it, "this very unclerical play"--namely, Dr. John Bridges, Dean of Salisbury and Bishop of Oxford. In narrating the personal history of these two churchmen, let us take them in order.

John Still 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, and his record, according to _The National Dictionary of Biography_, supplemented by W. C. Hazlitt in _Dodsley's Old Plays_, appears to have been as follows:--B.A. in 1561-2; M.A. in 1565; D.D., 1575; Fellow, 1562; presented to the rectory of St. Martin Outwich, London, in 1570; collated by Archbishop Parker to the rectory of Hadleigh, in Suffolk, 1571; and appointed, with Dr. Watts, by the primate to whom he was chaplain, Joint-Dean of Bocking, 1572. From the deanery of Bocking he rose 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, and finally, the bishopric of Bath and Wells, to which last dignity he was named 1592-3. He died at the episcopal palace at Wells, 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.

John Bridges was educated at Pembroke Hall, Cambridge, his record being:--B.A., 1556; M.A., 1560; Fellow, 1556; D.D. from Canterbury, 1575. He spent some years in Italy, and translated three books of Machiavelli into English, which, however, were not printed. This was followed by a translation of Walther's _175 Homilies on the Acts of the Apostles_ and _The Supremacy of Christian Princes over all Persons throughout their Dominions_. He became Dean of Salisbury in 1577, and was one of the divines appointed to reply to Edmund Campion's _Ten Reasons_. His most celebrated work was _A Defence of the Government established in the Church of England for Ecclesiastical Matters_--a monumental work of some 1,412 pp., published in 1587, and which derives its chief interest from the fact that it was the immediate cause of the famous Martin Marprelate controversy. Dr. Bridges also took part in the Hampton Court Conference in 1603, and on February 12, 1603-4, was consecrated Bishop of Oxford at Lambeth by Archbishop Whitgift. He officiated at the funeral of Henry Prince of Wales in 1612, and died at a great age in 1618.

The question of authorship has, indeed, always been, more or less, a moot point; the same uncertainty applies also to the question of the date of publication; and, notwithstanding recent research and criticism, these questions cannot even yet be said to be settled beyond a doubt.

Dr. Bradley, one of the editors of the _Oxford English Dictionary_, has recently, in Professor Gayley's _Representative English Comedies_ (Macmillan Co., New York, 1903), sifted the available evidence respecting the date and authorship of the play. I am enabled, through the courtesy of Dr. Bradley and the permission, readily granted, of Messrs. Macmillan and Co., to summarise the facts and inferences which Dr. Bradley adduces against the claims of both Dr. Still and Dr. Bridges, and those which seem to favour the identity of Mr. S. with a William Stevenson, who, born at Hunwick in Durham, matriculated as a sizar in November, 1546, became B.A. in 1549-50, M.A. in 1553, B.D. in 1560, being subsequently ordained deacon in London in 1552, appointed prebendary of Durham in January, 1560-1, and who died in 1575, the year in which _Gammer Gurton_ was printed.

The facts are as follows:--

1. The colophon of the earliest known edition of _Gammer Gurton's Needle_ bears date 1575. It also states that it was "played on stage, not longe ago, in Christes Colledge in Cambridge," and was "made by Mr. S., Mr. of Art."

2. The register of the Company of Stationers shows that in 1562-3 Colwell (whose dates as a printer-publisher range from 1561 to 1575) paid 4d. for licence to print a play entitled _Dyccon of Bedlam, &c._

3. "Diccon the Bedlam" is a character in _Gammer Gurton's Needle_, and there is a presumption that the piece licensed to Colwell in 1562-63 was identical with that printed in 1575 under another title; or, as an alternative, that _Gammer Gurton_ was a sequel to _Dyccon_: but that does not affect the value of the argument, as both would probably be by the same author.

4. If _Gammer Gurton's Needle_ is the play licensed in 1563, the performance at Christ's College must have taken place before that date, for it was not the custom to send a play to the press before it had been acted.

5. In the academic year ending Michaelmas, 1563, there is no record of dramatic representation given in the college; in 1561-62, the accounts mention certain sums "spent at Mr. Chatherton's playe"; in 1560-61 there is no mention of any play; but in 1559-60 we find two items:--"To the viales at Mr. Chatherton's plaie, 2s. 6d."--"Spent at Mr. Stevenson's plaie, 5s."

6. Therefore, as no evidence to the contrary has been found, it appears highly probable that the "Mr. S." of _Gammer Gurton's Needle_ was Mr. William Stevenson, Fellow of Christ's College from 1559 to 1561, and identical with the person of the same name who was Fellow of the college from 1551 to 1554, and who appears in the bursar's accounts as the author of a play acted in the year 1553-54.

7. It is presumed that he was deprived of his fellowship under Queen Mary, and was reinstated under Elizabeth. Whether Stevenson's play of 1559-60 was that given six years before, or a new one, there is no evidence to show, but the former supposition derives plausibility from the fact that allusions to church matters in _Gammer Gurton's Needle_ seem to indicate a pre-Elizabethan date for its composition. [On this Prof. Gayley (of the University of California, and the general editor of _Representative English Comedies_) remarks that the reference to the King, Act v. ii. (151c), would strengthen the probability that the play of 1575 (and 1559-60) was originally composed during Stevenson's first fellowship, at any rate before the death of Edward VI.; it might therefore be identical with the play acted in 1553-54.]

8. An objection to Stevenson's authorship of the play is the title-page of 1575 speaking of the representation at Cambridge "not longe ago," but Colwell had had the MS. in his possession ever since 1563, and it is not unlikely that the original title-page was retained without other alteration than the change in the name of the piece. The appearance of the title-page (see facsimile, p. 1) suggests the possibility that it may have been altered after being set up; "_Gammer gur-/tons Nedle_" in small italic may have been substituted for =Diccon of| Bedlam= in type as large as that of the other words in the same lines. In Colwell's edition of Ingelend's _Disobedient Child_ (printed 1560, see facsimile title-page opposite) the title-page has the same woodcut border, but the name of the piece is in type of the same size as that of the preceding and following words. As this woodcut does not occur in any other of Colwell's publications now extant, it seems reasonable to infer that _Gammer Gurton_ was printed long before 1575.

9. Reverting now to the former attributions of the play to Dr. Bridges and Bishop Still, it is clear, to take the former first, that Dr. Bridges was not "Mr. S." Further, he did not belong to Christ's College, but to Pembroke. These two facts make it difficult to understand why the author of the _Martin Marprelate_ tracts should have thrice claimed for him the authorship of this play, once in the _Epistle_ (1588) and twice in the _Epitome_. In the first the attribution is somewhat ambiguous; but in the others the writer evidently believed what he stated. Dr. Bradley suggests in explanation that as Dr. Bridges was resident at Cambridge in 1560 he may have assisted William Stevenson in the composition or revision of the play. [In a recent letter to the Editor, Dr. Bradley observes, on reading this article, that "if the arguments offered for an Edwardian date are valid, of course Bridges cannot have been the author, though he may well have revised the play for its performance in 1559-60. I suspect he was rather the sort of man to boast of the authorship, even if his real connection with it was slight."] "Bridges might have written comedy in his youth." His writings "abound in sprightly quips, often far from dignified in tone; and his controversial opponents complained, with some justice, of his buffoonery."

So far Dr. Bradley. The arguments against Still's authorship of _Gammer Gurton_, and in favour of that of Bridges, are stated at length in an article by Mr. C. H. Ross in the nineteenth volume of _Anglia_ (1896). The main contention is that "Mr. S." is a "blind" of some sort, standing, it may be, for the last letter, or the last syllable of the name "Bridges." "This is," remarks Prof. Hales in _The Age of Transition_, ii. 37, "possible, if not very likely." "Professor Boas," adds the same authority, "is disposed to support the Stevenson theory, but with qualifications. He points out (in a private letter) that it does not follow, because the play was acted at Christ's, that the writer was necessarily a member of that college, and he grants weight to the confident assertion of the Marprelate writer that Bridges was the author, although Bridges was at Pembroke College.... Professor Boas's general conclusion is as follows: 'I think Mr. Bradley's ascription of the play to Stevenson, though plausible and probable, is by no means certain, and that more may be said for Bridges' authorship than he allows.' In our opinion [that is, Prof. Hales's] the evidence, such as it is, is all in favour of Stevenson as the original author, but it may be hoped that the discovery of some contemporary allusion may yet settle the question once for all."

As regards Still, if Stevenson's authorship be accepted, Reed's conclusion of course falls to the ground; and the extraordinary seriousness of character of Bishop Still renders it incredible that he can ever have distinguished himself as a comic writer. Archbishop Parker, in 1573, speaks of him as "a young man," but "better mortified than some other forty or fifty years of age"; and another eulogist commends "his staidness and gravity." If seriousness had been qualified by wit, there would surely have been some indication of the fact in the vivaciously written account of him given by Harrington, who attests his excellent character, and 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." But neither there nor elsewhere is there any evidence that he ever made a joke, that he ever wrote a line of verse, or that he had any interests other than those connected with his sacred calling. John Payne Collier, in his _History of Dramatic Poetry_, noting the fact that _Gammer Gurton's Needle_ was the first existing English play acted at either university, commented on the singular coincidence that the author of the comedy [Dr. Still] 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 [--another indirect piece of evidence, surely, against Still's authorship].

The play is a comedy-farce in five acts, the central idea being the loss by an old dame of her needle, a half-crazy mischief-making wag setting it about that this (at that time of day) precious possession has been stolen by another old woman, the whole village being ultimately set by the ears about the matter. Finally it is found sticking in the breech of Gammer Gurton's man Hodge. The text followed is that of Colwell's edition of 1575, modernised in spelling and punctuation. Copies of the original are to be found in the British Museum, Bodleian, and Huth libraries. It has been several times reprinted, but never before in modern days in a separate form: (1) in quarto in 1661; (2) in Hawkins' _Origin of the English Drama_, 1773; (3) in all the editions of _Dodsley's Old Plays_ (1744, 1780, 1825, and 1876); (4) in _The Ancient British Drama_, ed. by Sir W. Scott, 1810; (5) in _Old English Drama_, 1830; (6) in Prof. Manly's _Specimens of the Pre-Shakspearean Drama_, 1897; and (7) in Gayley's _Representative English Comedies_, 1903.

A facsimile title-page will be found preceding the text, and the device of Thomas Colwell, the printer of the play, on page 64.

The song on page 12 is one of the oldest drinking-songs extant. An older version, modernised in spelling, is given below. Dr. Bradley does not regard it as likely to be "much older than the middle of the sixteenth century (the O.E.D. gives it as c. 1550), and it may possibly be later." As Skelton died 1529, the inference is obvious.

Back and side go bare, go bare; Both hand and foot go cold; But, belly, God send thee good ale enough, Whether it be new or old.

But if that I may have, truly, Good ale my belly full, I shall look like one (by sweet Saint John) Were shorn against the wool. Though I go bare, take ye no care, I am nothing cold. I stuff my skin so full within Of jolly good ale and old.

I cannot eat but little meat; My stomach is not good; But sure I think that I could drink With him that weareth a hood. Drink is my life; although my wife Some time do chide and scold, Yet spare I not to ply the pot Of jolly good ale and old. Back and side, &c.

I love no roast but a brown toast, Or a crab in the fire; A little bread shall do me stead, Much bread I never desire. Nor frost, nor snow, nor wind, I trow, Can hurt me if it would; I am so wrapped within, and lapped With jolly good ale and old. Back and side, &c.

I care right nought, I take no thought For clothes to keep me warm; Have I good drink, I surely think Nothing can do me harm. For truly then I fear no man, Be he never so bold, When I am armed, and thoroughly warmed With jolly good ale and old. Back and side, &c.

But now and then I curse and ban; They make their ale so small! God give them care, and evil to fare! They strye the malt and all. Such peevish pew, I tell you true, Not for a crown of gold There cometh one sip within my lip, Whether it be new or old. Back and side, &c.

Good ale and strong maketh me among Full jocund and full light, That oft I sleep, and take no keep From morning until night. Then start I up, and flee to the cup; The right way on I hold. My thirst to stanch I fill my paunch With jolly good ale and old. Back and side, &c.

And Kytte, my wife, that as her life Loveth well good ale to seek, Full oft drinketh she that ye may see The tears run down her cheek. Then doth she troll to me the bowl As a good malt-worm should, And say, "Sweetheart, I have taken my part Of jolly good ale and old." Back and side, &c.

They that do drink till they nod and wink, Even as good fellows should do, They shall not miss to have the bliss That good ale hath brought them to. And all poor souls that scour black bowls, And them hath lustily trolled, God save the lives of them and their wives, Whether they be young or old! Back and side, &c.

A RIGHT PITHY, PLEASANT, AND MERRY COMEDY, ENTITLED GAMMER GURTON'S NEEDLE. PLAYED ON STAGE NOT LONG AGO IN CHRIST'S COLLEGE IN CAMBRIDGE. MADE BY MR. S., M.A. IMPRINTED AT LONDON IN FLEET STREET, BENEATH THE CONDUIT, AT THE SIGN OF ST. JOHN EVANGELIST, BY THOMAS COLWELL.

The Names of the Speakers in this Comedy:

DICCON, THE BEDLAM HODGE, GAMMER GURTON'S SERVANT TIB, GAMMER GURTON'S MAID GAMMER GURTON COCK, GAMMER GURTON'S BOY DAME CHAT DOCTOR RAT, THE CURATE MASTER BAILY DOLL, DAME CHAT'S MAID SCAPETHRIFT, MASTER BAILY'S SERVANT MUTES

_God Save the Queen_

GAMMER GURTON'S NEEDLE

THE PROLOGUE.

As Gammer Gurton with many a wide stitch Sat piecing and patching of Hodge her man's breech, By chance or misfortune, as she her gear toss'd, In Hodge's leather breeches her needle she lost. When Diccon the Bedlam had heard by report That good Gammer Gurton was robbed in this sort, He quietly persuaded with her in that stound Dame Chat, her dear gossip, this needle had found; Yet knew she no more of this matter, alas! Than knoweth Tom, our clerk, what the priest saith at mass. Hereof there ensued so fearful a fray, Mas. Doctor was sent for, these gossips to stay, Because he was curate, and esteemed full wise; Who found that he sought not, by Diccon's device. When all things were tumbled and clean out of fashion, Whether it were by fortune, or some other constellation, Suddenly the needle Hodge found by the pricking. And drew it out of his buttock, where he felt it sticking. Their hearts then at rest with perfect security, With a pot of good ale they struck up their plaudity.

THE FIRST ACT. THE FIRST SCENE.

_Diccon._ Many a mile have I walked, divers and sundry ways, And many a good man's house have I been at in my days; Many a gossip's cup in my time have I tasted, And many a broach and spit have I both turned and basted, Many a piece of bacon have I had out of their balks, In running over the country, with long and weary walks; Yet came my foot never within those door cheeks, To seek flesh or fish, garlick, onions, or leeks, That ever I saw a sort in such a plight As here within this house appeareth to my sight. There is howling and scowling, all cast in a dump, With whewling and puling, as though they had lost a trump. Sighing and sobbing, they weep and they wail; I marvel in my mind what the devil they ail. The old trot sits groaning, with alas and alas! And Tib wrings her hands, and takes on in worse case. With poor Cock, their boy, they be driven in such fits, I fear me the folks be not well in their wits. Ask them what they ail, or who brought them in this stay, They answer not at all, but "alack!" and "wellaway!" When I saw it booted not, out at doors I hied me, And caught a slip of bacon, when I saw none spied me, Which I intend not far hence, unless my purpose fail, Shall serve me for a shoeing horn to draw on two pots of ale.

THE FIRST ACT. THE SECOND SCENE.

HODGE, DICCON.

_Hodge._ See! so cham arrayed with dabbling in the dirt! She that set me to ditching, ich would she had the squirt! Was never poor soul that such a life had. Gog's bones! this vilthy glay has dress'd me too bad! Gog's soul! see how this stuff tears! Ich were better to be a bearward, and set to keep bears! By the mass, here is a gash, a shameful hole indeed! And one stitch tear further, a man may thrust in his head.

_Diccon._ By my father's soul, Hodge, if I should now be sworn, I cannot choose but say thy breech is foul betorn, But the next remedy in such a case and hap Is to planch on a piece as broad as thy cap.

_Hodge._ Gog's soul, man, 'tis not yet two days fully ended, Since my dame Gurton (cham sure) these breeches amended; But cham made such a drudge to trudge at every need, Chwold rend it though it were stitched with sturdy packthread.

_Diccon._ Hodge, let thy breeches go, and speak and tell me soon What devil aileth Gammer Gurton and Tib her maid to frown.

_Hodge._ Tush, man, th'art deceived: 'tis their daily look; They cow'r so over the coals, their eyes be blear'd with smoke.

_Diccon._ Nay, by the mass, I perfectly perceived, as I came hither, That either Tib and her dame hath been by the ears together, Or else as great a matter, as thou shalt shortly see.

_Hodge._ Now, ich beseech our Lord they never better agree!

_Diccon._ By Gog's soul, there they sit as still as stones in the street, As though they had been taken with fairies, or else with some ill-spreet.

_Hodge._ Gog's heart! I durst have laid my cap to a crown Ch'would learn of some prancome as soon as ich came to town.

_Diccon._ Why, Hodge, art thou inspired? or didst thou thereof hear?