It is a historical phenomenon that while thousands of women were being burnt as witches in early modern Europe, the English - although there were a few celebrated trials and executions, one of which the play dramatises - were not widely infected by the witch-craze. The stage seems to have provided an outlet for anxieties about witchcraft, as well as an opportunity for public analysis. The Witch of Edmonton (1621) manifests this fundamentally reasonable attitude, with Dekker insisting on justice for the poor and oppressed, Ford providing psychological character studies, and Rowley the clowning. The village community of Edmonton feels threatened by two misfits, Old Mother Sawyer, who has turned to the devil to aid her against her unfeeling neighbours, and Frank, who refuses to marry the woman of his father's choice and ends up murdering her. This edition shows how the play generates sympathy for both and how contemporaries would have responded to its presentation of village life and witchcraft.

"The play, based on a sensational witchcraft trial of 1621, presents Mother Sawyer and her local community in the grip of a witch-mania reflecting popular belief and superstition of the time ..."--Back cover.

It is a historical phenomenon that while thousands of women were being burnt as witches in early modern Europe, the English - although there were a few celebrated trials and executions, one of which the play dramatises - were not widely infected by the witch-craze. The stage seems to have provided an outlet for anxieties about witchcraft, as well as an opportunity for public analysis. The Witch of Edmonton (1621) manifests this fundamentally reasonable attitude, with Dekker insisting on justice for the poor and oppressed, Ford providing psychological character studies, and Rowley the clowning. The village community of Edmonton feels threatened by two misfits, Old Mother Sawyer, who has turned to the devil to aid her against her unfeeling neighbours, and Frank, who refuses to marry the woman of his father's choice and ends up murdering her. This edition shows how the play generates sympathy for both and how contemporaries would have responded to its presentation of village life and witchcraft.

For Jacobean society, witchcraft was a potent and very real force, an area of sharp controversy in which King James I himself participated and a phenomenon that attracted many dramatists and writers. The three plays in this book - Sophonisba, The Witch and The Witch of Edmonton - reflect the variety of belief in witches and practice of witchcraft in the Jacobean period. Jacobean understanding of witchcraft is illuminated by the close study of these contrasting texts in relation to each other and to other contemporary works: The Masque of Queenes; Dr Faustus; Macbeth and The Tempest. The introduction and detailed commentaries explore the considerable theatrical potential of plays which, with the exception of The Witch of Edmonton, have been hitherto lost to the dramatic repertory.

'Diane Purkiss ... insists on taking witches seriously. Her refusal to write witch-believers off as unenlightened has produced some richly intelligent meditations on their -- and our -- world.' - The Observer 'An invigorating and challenging book ... sets many hares running.' - The Times Higher Education Supplement

Presents an historical analysis of the Salem witch trials, examining the factors that may have led to the mass hysteria, including a possible occurrence of ergot poisoning, a frontier war in Maine, and local political rivalries.