C. Burnard’s _Faust and Marguerite_, S. James, 9 July, 1864; C. H.

Hazlewood’s _Faust: or Marguerite’s Mangle_, Britannia Theatre, 25 March, 1867; Byron’s _Little Doctor Faust_ (1877); _Faust in Three Flashes_ (1884); _Faust in Forty Minutes_ (1885); and the most famous of all the travesties _Faust Up to Date_, produced at the Gaiety, 30 October, 1888, with E. J. Lonnen as Mephistopheles and Florence St. John as Marguerite. In France the _Faust_—après Goethe—of Theaulou and Gondelier first seen at the Nouveautés, 27 October, 1827, had a great success, and in the following year no less than three pens, Antony Béraud, Charles Nodier, and Merle, combined to produce a _Faust_ in three acts, the music of which is by Louis Alexandre Piccini, the grandson of Gluck’s famous rival. In 1858 Adolphe Dennery gave the Parisian stage _Faust_, a “drame fantastique” in five acts and sixteen tableaux, a drama of the Grattan school, effective enough in a lurid Sadlers Wells way, which is, at any rate, a vein greater dramatists have exploited with profit and applause. Of more recent English dramas which have the Faust legend as their theme the most striking is undoubtedly the adaptation by W. G. Wills from the first part of Goethe’s tragedy, which was produced at the Lyceum 19 December, 1885, with H. H. Conway as Faust; George Alexander, Valentine; Mrs. Stirling, Martha; Miss Ellen Terry, Margaret; and Henry Irving, Mephistopheles. Not merely in view of the masterpieces of Marlowe and Goethe, but even by the side of theatrical versions of the legend from far lesser men the play itself was naught, a superb pantomime, a thing helped out by a witches’ kitchen, by a bacchanalia of demons, by chromo-lithographic effects, by the mechanist and the brushes of Telbin and Hawes Craven, but it was informed throughout and raised to heights of greatness, nay, even to awe and terror, by the genius of Irving as the red-plumed Mephistopheles, that sardonic, weary, restless figure, horribly unreal yet mockingly alert and alive, who dominated the whole. To attempt a comparison between Marlowe and Goethe were not a little absurd, and it is superfluous to expatiate upon the supreme merits of either masterpiece. In Goethe’s mighty and complex work the story is in truth refined away beneath a wealth of immortal philosophy. Marlowe adheres quite simply to the chap-book incidents, and yet in all profane literature I scarcely know words of more shuddering dread and complete agony than Faust’s last great speech: Ah, Faustus, Now hast thou but one bare hour to live. And then thou must be damned perpetually! The scene becomes intolerable. It is almost too painful to be read, too overcharged with hopeless darkness and despair. As it is in some sense at least akin to the Faust story it may not be impertinent briefly to mention here an early Dutch secular drama, which has been called “one of the gems of Dutch mediæval literature,” _A Marvellous History of Mary of Nimmegen, who for more than seven years lived and had ado with the Devil_,[6] printed by William Vorsterman of Antwerp about 1520. It is only necessary to call attention to a few features of the legend. Mary, the niece of the old priest Sir Gysbucht, one night meets the Devil in the shape of _Moonen with the single eye_. He undertakes to teach her all the secrets of necromancy if she will but refrain from crossing herself and change her name to Lena of Gretchen. But Mary, who has had a devotion to our Lady, insists upon retaining at least the M in her new nomenclature, and so becomes Emmekin. “Thus Emma and Moonen lived at Antwerp at the sign of the Golden Tree in the market, where daily of his contrivings were many murders and slayings together with every sort of wickedness.” Emma then resolves to visit her uncle, and insists upon Moonen accompanying her to Nimmegen. It is a high holiday and she sees by chance the mystery of _Maskeroon_ on a pageant-waggon in a public square. Our Lady is pleading before the throne of God for mankind, and Emma is filled with strange remorse to hear such blessed words. Moonen carries her off, but she falls and is found in a swoon by the old priest, her uncle. No priest of Nimmegen dared shrive her, not even the Bishop of Cologne, and so she journeyed to Rome, where the Holy Father heard her confession and bade her wear in penitence three strong bands of iron fastened upon neck and arms. Thus she returned to Maestricht to the cloister of the Converted Sinners, and there her sorrow was so prevailing and her humility so unfeigned that an Angel in token of Divine forgiveness removed the irons as she slept. And go ye to Maestricht, an ye be able And in the Converted Sinners shall ye see The grave of Emma, and there all three The rings be hung above her grave.[7] Magic and fairy-land loom large in the plays of Robert Greene, whose place in English literature rests at least as much upon his prose-tracts as on his dramas. It seems to me fairly obvious that _The Honourable History of Friar Bacon and Friar Bungay_, which almost certainly dates from 1589, although the first quarto is 1594, was composed owing to the success of Marlowe’s _Doctor Faustus_. Greene was not the man to lose an opportunity of exploiting fashion, and with his solid British bent I have no doubt he considered an old English tale of an Oxford magician would be just as effective as imported legends from Frankfort and Wittenberg. To say that the later play is on an entirely different level is not to deny it interest and considerable charm. But in spite of Bacon’s avowal Thou know’st that I have divèd into hell And sought the darkest palaces of fiends; That with my magic spells great Belcephon, Hath left his lodge and kneeled at my cell, his sorceries are in lighter vein than those of Faustus; moreover neither his arts nor the magic of Friar Bungay form the essential theme of the play, which also sketches the love of Edward, Prince of Wales (afterwards Edward I) for Margaret, “the fair Maid of Fressingfield.” It is true Bacon conjures up spirits enough, and we are shown his study at Brasenose with the episode of the Brazen Head. It may be noted that Miles, Bacon’s servant, is exactly the Vice of the Moralities, and at the end he rides off farcically enough on the Devil’s back, whilst Bacon announces his intention of spending the remainder of his years in becoming penitence for his necromancy and magic. In Greene’s _Orlando Furioso_, 4to, 1594, which is based on Ariosto, canto XXIII, we meet Melissa, an enchantress: and in _Alphonsus, King of Arragon_, 4to, 1599, which is directly imitative of _Tamburlaine_, a sibyl with the classical name Medea, conjures up Calehas “in a white surplice and cardinal’s mitre,” and here we also have a Brazen Head through which Mahomet speaks. A far more interesting play is _A Looking Glasse for London and England_, 4to, 1594, an elaborated Mystery upon the history of the prophet Jonah and the repentance of Nineveh. Among the characters are a Good Angel, an Evil Angel, and “one clad in Devil’s attire,” who is soundly drubbed by Adam the buffoon. In 1598 was published, “As it hath bene sundrie times publikely plaide,” _The Scottish Historic of Iames the fourth, slaine at Flodden. Entermixed with a pleasant Comedie, presented by Oboram, King of Fayeries._ But the fairies only appear in a species of prose prologue, and in brief interludes between the acts. George Peele’s charming piece of folk-lore _The Old Wives’ Tale_ introduces among its quaint commixture of episodes the warlock Sacripant, son of a famous witch Meroe,[8] who has stolen away and keeps under a spell the princess Delia. His power depends upon a light placed in a magic glass which can only be broken under certain conditions. Eventually Sacripant is overcome by the aid of a friendly ghost, Jack, the glass broken, the light extinguished, and the lady restored to her lover and friends. Other magicians who appear in various dramas of the days of Elizabeth and her immediate successors are Brian Sansfoy in the primitive _Sir Clyomon and Sir Clamydes_, 4to, 1599; the Magician in _The Wars of Cyrus_; Friar Bacon, Friar Bungay, and Jaques Vandermast in Greene’s _Friar Bacon and Friar Bungay_, Merlin and Proximus in the pseudo-Shakespearean _The Birth of Merlin_, where the Devil also figures; Ormandini and Argalio in _The Seven Champions of Christendom_, where we likewise have Calib, a witch, her incubus Tarpax, and Suckabus their clownish son; Comus in Milton’s masque; Mago the conjurer with his three familiars Eo, Meo, and Areo in Cokain’s _Trappolin Creduto Principe, Trappolin suppos’d a Prince_, 4to, 1656, excellent light fare, which Nahum Tate turned into _A Duke and No Duke_ and produced at Drury Lane in November, 1684, and which in one form or another, sometimes “a comic melodramatic burletta,” sometimes a ballad opera, sometimes a farce, was popular until the early decades of the nineteenth century. Seeing that actors are “the abstracts and brief chronicles of the time,” it is not surprising to find that Witchcraft has a very important part in the theatre of Shakespeare. Setting aside such a purely fairy fantasy as _A Midsummer-Night’s Dream_, such figures as the “threadbare juggler” Pinch in _The Comedy of Errors_, such scenes as the hobgoblin mask beneath Herne’s haunted oak, such references as that to Mother Prat, the old woman of Brainford, who worked “by charms, by spells, by the figure,” or the vile abuse by Richard, Duke of Gloucester, of “Edward’s wife, that monstrous witch, Consorted with that harlot strumpet Shore,” we have one historical drama _King Henry VI_, Part II, in which an incantation scene plays no small part; we have one romantic comedy _The Tempest_, one tragedy _Macbeth_, the very motives and development of which are due to magic and supernatural charms. It must perhaps be remarked that _King Henry VI_, Part I, is defiled by the obscene caricature of S. Joan of Arc, surely the most foul and abominable irreverence that shames English literature. It is too loathsome for words, and I would only point out the enumeration in one scene where various familiars are introduced of the most revolting details of contemporary witch-trials, but to think of such horrors in connexion with S. Joan revolts and sickens the imagination. In _King Henry VI_ (Part II) the Duchess of Gloucester employs John Hume and John Southwell, two priests; Bolingbroke, a conjurer; and Margery Jourdemain, a witch, to raise a spirit who shall reveal the several destinies of the King, and the Dukes of Suffolk and Somerset. The scene is written with extraordinary power and has not a little of awe and terror. Just as the demon is dismissed ’mid thunder and lightning the Duke of York with his guards rush in and arrest the sorcerers. Later the two priests and Bolingbroke are condemned to the gallows, the witch in Smithfield is “burn’d to ashes,” whilst the Duchess of Gloucester after three days’ public penance is banished for life to the Isle of Man. The incidents as employed by Shakespeare are fairly correct. It is certain that the Duchess of Gloucester, an ambitious and licentious woman, called to her counsels Margery Jourdemain, commonly known as the Witch of Eye, Roger Bolingbroke an astrologer, Thomas Southwell, Canon of S. Stephen’s, a priest named Sir John Hume or Hun, and a certain William Wodham. These persons frequently met in secret, and it was discovered that they had fashioned according to the usual mode a wax image of the King which they melted before a slow fire. Bolingbroke confessed, and Hume also turned informer; and in 1441 Bolingbroke was placed on a high scaffold before Paul’s Cross together with a chair curiously carved and painted, found at his lodging, which was supposed to be an instrument of necromancy, and in the presence of Cardinal Beaufort of Winchester, Henry Chicheley, Archbishop of Canterbury, and an imposing array of bishops, he was compelled to make abjuration of his wicked arts. The Duchess of Gloucester, being refused sanctuary at Westminster, was arrested and confined in Leeds Castle, near Maidstone. She was brought to trial with her accomplices in October, when sentence was passed upon her as has been related above. Margery Jourdemain perished at the stake as a witch and relapsed heretic; Thomas Southwell died in prison; and Bolingbroke was hanged at Tyburn, 18 November. In _The Tempest_ Prospero is a philosopher rather than a wizard, and Ariel is a fairy not a familiar. The magic of Prospero is of the intellect, and throughout, Shakespeare is careful to insist upon a certain detachment from human passions and ambitions. His love for Miranda, indeed, is exquisitely portrayed, and once—at the base ingratitude of Caliban—his anger flashes forth, but none the less, albeit superintending the fortunes of those over whom he watches tenderly, and utterly abhorring the thought of revenge, he seems to stand apart like Providence divinely guiding the events to the desired issue of reconciliation and forgiveness. Even so, the situation was delicate to place before an Elizabethan audience, and how nobly and with what art does Shakespeare touch upon Prospero’s “rough magic”! In Sycorax we recognize the typical witch, wholly evil, vile, malignant, terrible for mischief, the consort and mistress of devils. There are few scenes which have so caught the world’s fancy as the wild overture to _Macbeth_. In storm and wilderness we are suddenly brought face to face with three mysterious phantasms that ride on the wind and mingle with the mist in thunder, lightning, and in rain. They are not agents of evil, they are evil; nameless, spectral, wholly horrible. And then, after the briefest of intervals, they reappear to relate such exploits as killing swine and begging chestnuts from a sailor’s wife, to brag of having secured such talismans as the thumb of a drowned pilot, businesses proper to Mother Demdike or Anne Bishop of Wincanton, Somerset. Can this change have been intentional? I think not, and its very violence and quickness are jarring to a degree. The meeting with Hecate, who is angry, and scolds them “beldames as you are, Saucy and overbold” does not mend matters, and in spite of the horror when the apparitions are evoked, the ingredients of the cauldron, however noisome and hideous, are too material for “A deed without a name.” There is a weakness here, and it says much for the genius of the tragedy that this weakness is not obtrusively felt. Nevertheless it was upon this that the actors seized when for theatrical effect the incantation scenes had to be “written up” by the interpolation of fresh matter. Davenant also in his frankly operatic version of _Macbeth_, produced at Dorset Garden in February, 1672-3 elaborated the witch scenes to an incredible extent, although by ample conveyance from Middleton’s _The Witch_ together with songs and dances he was merely following theatrical tradition.[9] There seems no reasonable doubt that _The Witch_ is a later play than _Macbeth_, but it is only fair to say that the date of _The Witch_ is unknown—it was first printed in 1778 from a manuscript now in the Bodleian—and the date of _Macbeth_ (earlier than 1610, probably 1606) is not demonstrably certain. _The Witch_ is a good but not a distinguished play. Owing to the incantation scenes and its connexion with _Macbeth_ it has acquired an accidental interest, and an enduring reputation. The witches themselves, Hecate and her crew, stand midway between the mystic Norns of the first scene in _Macbeth_, and the miserable hag of Dekker in _The Witch of Edmonton_; they are just a little below the Witches in _Macbeth_ as they appear after the opening lines. There is a ghastly fantasy in their revels which is not lessened by the material grossness of Firestone the clown, Hecate’s son. They raise “jars, jealousies, strifes, and heart-burning disagreements, like a thick scurf o’er life,” and although their figures are often grotesque their power for evil is not to be despised. Much of their jargon, their charms and gaucheries complete, are taken word for word from Reginald Scott’s _Discoverie of Witchcraft_, London, 1584. The village witch, as she appeared to her contemporaries, a filthy old doting crone, hunch-backed, ignorant, malevolent, hateful to God and man, is shown with photographic detail in _The Witch of Edmonton; A known True Story_ by Rowley, Dekker, and Ford, produced at the Cockpit in Drury Lane during the autumn or winter of 1621. It seems to have been very popular at the time, and not only was it applauded in the public theatre, but it was presented before King James at Court. It did not, however, find its way into print until as late as 1658. [Illustration: PLATE VIII THE WITCH OF EDMONTON. The First Quarto [_face p. 290_] The trial and execution (19 April, 1621) of Elizabeth Sawyer attracted a considerable amount of attention. Remarkable numbers of ballads and doggerel songs were made upon the event, detailing her enchantments, how she had blighted standing corn, how a ferret and an owl constantly attended her, and of many demons and familiars who companied with her in the prison. Not only were these ditties trolled out the day of the execution but many were published as broadsides, and sold widely. Accordingly the Newgate Ordinary hastened to pen _The Wonderfull Discoverie of Elizabeth Sawyer, a Witch, Late of Edmonton, Her Conviction, and Condemnation, and Death, Together with the Relation of the Divels Accesse to Her, and Their Conference Together_, “Written by Henry Goodcole, Minister of the Word of God, and her Continual Visiter in the Gaole of Newgate,” Published by Authority, 4to, 1621. This tractate is in the form of a dialogue, question and answer, between Goodcole and the prisoner, who makes ample confession of her crimes. In some ways _The Witch of Edmonton_ is the most interesting and valuable of the witch dramas, because here we have the hag stripped of the least vestige of glamour and romance presented to us in the starkest realism. We see her dwelling apart in a wretched hovel, “shunned and hated like a sickness,” miserably poor, buckl’d and bent together, dragging her palsied limbs wearily through the fields, as she clutches her dirty rags round her withered frame. And if she but dare to gather a few dried sticks in a corner she is driven from the spot with hard words and blows. What wonder her mouth is full of cursing and revenge? ’Tis all one To be a witch as to be counted one. Then appears the Black Dog and seals a contract with her blood. She blights the corn and sends a murrain on the cattle of her persecutors; here a horse has the glanders, there a sow casts her farrow; the maid churns butter nine hours and it will not come; above all a farmer’s wife, whom she hates, goes mad and dies in frantic agony; mischief and evil run riot through the town. But presently her familiar deserts her, she falls into the hands of human justice, and after due trial is dragged to Tyburn shrieking and crying out in hideous despair. It is a sordid and a terrible, but one cannot doubt, a true picture. It is obvious that in this drama[10] Frank Thorney, a most subtle and minute study of weakness and degeneracy, is wholly Ford’s. Frank Thorney may be closely paralleled with Giovanni in _’Tis Pity She’s a Whore_. Winnifride, too, has all the sentimental charm of Ford’s heroines, Annabella and Penthea. Carter is unmistakably the creation of Dekker. Simon Eyre and Orlando Friscobaldo are the same hearty, bluff, hospitable, essentially honest old fellows. To Dekker also I would assign Mother Sawyer herself. Rowley’s hand is especially discernible in the scenes where Cuddy Banks and the clowns make their appearance. It may be mentioned that Elizabeth Sawyer figures in Caulfield’s _Portraits, Memoirs, and Characters of Remarkable Persons_, 1794; and she is also referred to in Robinson’s _History and Antiquities of the Parish of Edmonton_ with a woodcut “from a rare print in the collection of W. Beckford, esq.” A second drama which was also actually founded upon a contemporary trial is Heywood and Brome’s _The Late Lancashire Witches_, “A Well Received Comedy” produced at the Globe in 1634.[11] In the previous year, 1633, a number of trials for Witchcraft had drawn the attention of all England to Pendle Forest. A boy, by name Edmund Robinson, eleven years of age, who dwelt here with his father, a poor wood-cutter, told a long and detailed story which led to numerous arrests throughout the district. Upon All Saints’ Day when gathering “bulloes” in a field he saw two greyhounds, one black, the other brown, each wearing a collar of gold. They fawned upon him, and immediately a hare rose quite near at hand. But the dogs refused to course, whereupon he beat them with a little switch, and the black greyhound started up in the shape of an old woman whom he recognized as Mother Dickenson, a notorious witch, and the other as a little boy whom he did not know. The beldame offered him money, either to buy his silence or as the price of his soul, but he refused. Whereupon taking something like a Bridle “that gingled” from her pocket she threw it over the little boy’s head and he became a white horse. Seizing young Robinson in her arms they mounted and were conveyed with the utmost speed to a large house where had assembled some sixty other persons. A bright fire was burning on the hearth with roast meat before it. He was invited to partake of “Flesh and Bread upon a Trencher and Drink in a Glass,” which he tasted, but at once rejected. He was next led into an adjoining barn where seven old women were pulling at seven halters that hung from the roof. As they tugged large pieces of meat, butter in lumps, loaves of bread, black puddings, milk, and all manner of rustic dainties fell down into large basins which were placed under the ropes. When the seven hags were tired their places were taken by seven others. But as they were engaged at their extraordinary task their faces seemed so fiendish and their glances were so evil that Robinson took to his heels. He was instantly pursued, and he saw that the foremost of his enemies was a certain Mother Lloynd. But luckily for himself two horsemen, travellers, came up, whereupon the witches vanished. A little later when he was sent in the evening to fetch home two kine, a boy met him in the dusk and fought him, bruising him badly. Looking down he saw that his opponent had a cloven foot, whereupon he ran away, only to meet Mother Lloynd with a lantern in her hand. She drove him back and he was again mauled by the cloven-footed boy.[12] Such was the story told to the justices and corroborated by Robinson’s father. A reign of terror ensued. Mother Dickenson and Mother Lloynd were at once thrown into jail, and in the next few days more than eighteen persons were arrested. The informer and his father netted a good sum by going round from church to church to point out in the congregations persons whom he recognized as having been in the house and barn to which he was led. A little quiet blackmail of the wealthier county families, threats to disclose the presence of various individuals at the witches’ feast, brought in several hundreds of pounds. The trial took place at Lancaster Assizes and seventeen of the accused were incontinently found guilty. But the judge, completely dissatisfied with so fantastic a story, obtained a reprieve. Four of the prisoners were sent up to London, where they were examined by the Court physicians. King Charles himself also questioned one of these poor wretches and, discerning that the whole history was a fraud, forthwith pardoned all who had been involved. Meantime Dr. John Bridgeman, the Bishop of Chester, had also been holding a special inquiry into the case. Young Robinson was lodged separately, being allowed to hold no communication with his relatives, and when closely interrogated he gave way and confessed that the scare from beginning to end had been manœuvred by his father, who carefully coached him in his lies. In spite of this fiasco the talk did not die down immediately, and there were many who continued to maintain that Mother Dickenson was indeed a witch, however false the evidence on this occasion might be. It must be remembered, moreover, that twenty-two years before, in the very same district, a coven of thirteen witches, of whom the chief was Elizabeth Demdike, had been brought to justice, “at the Assizes and Generall Gaole-Delivery, holden at Lancaster, before Sir Edward Bromley and Sir James Eltham.” Old Demdike herself—she was blind and over eighty years of age—died in prison, but ten of the accused were executed, and the trial, which lasted two days, occasioned a tremendous stir. It seems not at all improbable that Heywood had written a topical play in 1612 dealing with this first sensational prosecution, and that when practically the same events repeated themselves in the same place less than a quarter of a century after he and the ever-ready Brome fashioned anew the old scenes. In the character of the honourable country-gentleman Master Generous, whose wife is discovered to be guilty of Witchcraft, there is something truly noble, and his tender forgiveness of her crime when she repents is touched with the loving pathos that informs _A Woman Kilde with Kindnesse_, whilst his agony at her subsequent relapse is very real, although Heywood has wisely refrained from any attempt to show a broken heart save by a few quite simple but poignant words. The play as a whole is a faithful picture of country life, homely enough, yet not without a certain winsome beauty. The comic episodes are sufficiently broad in their humour; we have a household turned topsy-turvy by enchantment, a wedding-breakfast bewitched: the kitchen invaded by snakes, bats, frogs, beetles, and hornets, whilst to cap all the unfortunate bridegroom is rendered impotent. In Act II we have the incident of a Boy with a switch (young Edmund Robinson) and the two greyhounds. Gammer Dickison carries him off against his will “to a brave feast,” where we see the witches pulling ropes for food: Pul for the poultry, foule and fish, For emptie shall not be a dish. In Act V the Boy tells Doughty the story of his encounter with the Devil: “He came to thee like a boy, thou sayest, about thine owne bisnesse?” they ask him, and the whole scene meticulously follows the detailed evidence given before the judge at Lancaster. Of the witches, Goody Dickison, Mal Spencer, Mother Hargrave, Granny Johnson, Meg, Mawd, are actual individuals who were accused by Robinson; Mrs. Generous alone is the poet’s fiction. When Robin, the blunt serving-man, refuses to saddle the grey gelding she shakes a bridle over his head and using him as a horse makes him carry her to the satanical assembly. There is a mill, which is haunted by spirits in the shape of cats, and here a soldier undertakes to watch. For two nights he is undisturbed, but on the third “_Enter_ Mrs. Generous, Mal, _all the_ Witches and _their Spirits_ (_at severall dores_).” “_The_ Spirits _come about him with a dreadfull noise_,” but he beats them thence with his sword, lopping off a tabby’s paw in the hurly-burly. In the morning a hand is found, white and shapely, with jewels on the fingers. These Generous recognizes as being his wife’s rings, and Mrs. Generous, who is in bed ill, is found to have one hand cut off at the wrist. This seals her fate. All the witches are dragged in and in spite of their charms and bug-words are identified by several witnesses including the boy who “saw them all in the barne together, and many more, at their feast and witchery.” The play was evidently produced just after the Lancaster Assizes, whilst four of the accused were in the Fleet prison, London, for further examination, and the King’s pardon had not as yet been pronounced. This is evident from the Epilogue, which commences: Now while the witches must expect their due, By lawfull justice, we appeale to you For favourable censure; what their crime May bring upon ’em ripens yet of time Has not reveal’d. Perhaps great mercy may, After just condemnation, give them day Of longer life. It will be convenient to consider in this connexion a drama largely founded upon Heywood and Brome, and produced nearly half a century later at the Duke’s House, Dorset Garden, Shadwell’s _The Lancashire Witches and Teague o Divelly, the Irish Priest_, which was first seen in the autumn of 1681 (probably in September). The idea of using magic in a play was obviously suggested to Shadwell by his idolized Ben Jonson’s _Masque of Queens_, performed at Whitehall, 2 February, 1609. In close imitation of his model Shadwell has further appended copious notes to Acts one, two, three, and five, giving his references for the details of his enchantments. In the Preface (4to, 1682) he naïvely confesses: “For the magical part I had no hopes of equalling _Shakespear_ in fancy, who created his witchcraft for the most part out of his own imagination (in which faculty no man ever excell’d him), and therefore I resolved to take mine from authority. And to that end there is not one action in the Play, nay, scarce a word concerning it, but is borrowed from some antient, or modern witchmonger. Which you will find in the notes, wherein I have presented you a great part of the doctrine of witchcraft, believe it who will.” And he has indeed copious citations from Vergil, Horace, Ovid, Propertius, Juvenal, Tibullus, Seneca, Tacitus, Lucan, Petronius, Pliny, Apuleius, Aristotle, Theocritus, Lucian, Theophrastus; S. Augustine, S. Thomas Aquinas; Baptista Porta; Ben Jonson (_The Sad Shepherd_); from the _Malleus Maleficarum_ of James Sprenger, O.P., and Henry Institor (Heinrich Kramer), written _circa_ 1485-89, from Jean Bodin’s (1520-96) _La Demonomanie des Sorciers_, 1580; the _Dæmonolatria_, 1595, of Nicolas Remy; _Disquisitionum Magicarum libri six_ of Martin Delrio, S.J. (1551-1608); _Historia Rerum Scoticarum_, Paris, 1527, of Hector Boece (1465-1536); _Formicarius_, 5 vols., Douai, 1602, of John Nider, O.P. (1380-1438); _De Præstigiis Dæmonum_, 1563, by the celebrated John Weyer, physician to the Duke of Cleves; _De Gentibus Septentrionalibus_,[13] Rome, 1555, by Olaus Magnus, the famous Archbishop of Upsala; _Discoverie of Witchcraft_, 1584, by Reginald Scot; _Dæmonomagia_, by Philip Ludwig Elich, 1607; _De Strigimagis_, by Sylvester Mazzolini, O.P. (1460-1523), Master of the Sacred Palace and champion of the Holy See against the heresiarch Luther; _Compendium Maleficarum_ (Milan, 1608), by Francesco Maria Guazzo of the Congregation of S. Ambrose; _Disputatio de Magis_ (Frankfort, 1584), by Johan Georg Godelmann; _Tractatus de Strigiis et Lamiis_ of Bartolommeo Spina, O.P.; the _Decretum_ (about 1020) of Burchard, Bishop of Worms; the _De Sortilegiis_ (Lyons, 1533) of Paolo Grilland; the _De Occulta Philosophia_ (Antwerp, 1531) of Cornelius Agrippa; the _Apologie pour tous les Grands Hommes qui ont este faussement supconnez de Magie_ (1625) of Gabriel Naudé, librarian to Cardinal Mazarin; _De Subtilitate_ (libri XXI, Nuremberg, 1550) of Girolamo Cardano, the famous physician and astrologer; _De magna et occulta Philosophia_ of Paracelsus; _IIII Livres des Spectres_ (Angers, 1586) by Pierre le Loyer, Sieur de Brosse, of which Shadwell used the English version (1605) _A treatise of Specters_ ... translated by Z. Jones. It will be seen that no less than forty-one authors, authorities on magic, are quoted by Shadwell in these notes, whilst not infrequently the same author is cited again and again, and extracts of some length, not merely general references, are given. But for all this parade of learning, perchance because of all this parade of learning, Shadwell’s witch scenes are intolerably clumsy, they are gross without being terrible. Shadwell was a clever dramatist, he was able to draw a character, especially a crank, with quite remarkable vigour, and his scenes are a triumph of photographic realism. True, he could not discriminate and select; he threw his world _en masse_ higgledy piggledy on to the stage, and as even in the reign of the Merry Monarch there were a few tedious folk about, so now and again—but not very often—one chances upon heavy passages in Shadwell’s robust comedies. On the other hand _The Sullen Lovers_, _Epsom Wells_, _The Virtuoso, Bury Fair_, _The Squire of Alsatia_, _The Volunteers_, in fact all his native plays, are full of bustle and fun, albeit a trifle riotous and rude as the custom was. Dryden, who very well knew what he was about, for purposes of his own cleverly dubbed Shadwell dull. And dull he has been dubbed ever since by those who have not read him. But Shadwell had not a spark of poetry in his whole fat composition. And so his witches become farcical, yet farcical in a grimy unpleasant way, for we are spared none of the loathsome details of the Sabbat, and should anyone object, why, there is the authority of Remy or Guazzo, the precise passage from Prierias or Burchard to support the author. Indeed we feel that these witches are very real in spite of their materialism. They present a clear picture of one side of the diabolic cult, however crude and crass. Even so, these incantation scenes are not, I venture to think, the worst thing in the play. The obscene caricature of the Catholic priest, Teague o Divelly, is frankly disgusting beyond words. He is represented as ignorant, idle, lecherous, a liar, a coward, a buffoon, too simiously cunning to be a fool, too basely mean to be a villain. It is a filthy piece of work, malignant and harmful prepense.[14] But Shadwell showed scant respect for the Protestants too, since Smerk, Sir Edward Hartfort’s chaplain, is described as “foolish, knavish, popish, arrogant, insolent; yet for his interest, slavish.” It is hardly a matter for surprise that after the play had been in the actors’ hands about a fortnight complaints from such high quarters were lodged with Charles Killigrew, the Master of the Revels, that he promptly sent for the script, which at first he seems to have passed carelessly enough, and would only allow the rehearsals to proceed on condition that a quantity of scurrilous matter was expunged. Even so the dialogue is sufficiently offensive and profane. There was something like a riot in the theatre at the first performance, and the play was as heartily hissed as it deserved. Yet it managed to make a stand: those were the days of the Third Exclusion Bill and rank disloyalty, but the tide was on the turn, a rebel Parliament had been dissolved on the 28th March, on the 31st of August Stephen College, a perjured fanatic doubly dyed in treason and every conceivable rascality, had met his just reward on the gallows, whilst the atrocious Shaftesbury himself was to be smartly laid by the heels in the November following. That part of the dialogue which was not allowed to be spoken on the stage Shadwell has printed in italic letter,[15] and so we plainly see that the censor was amply justified in his demands. The political satire is of the muddiest; the railing against the Church is lewd and rancorous. Such success as _The Lancashire Witches_ had in the theatre—and it was not infrequently revived—was wholly due to the mechanist and the scenic effects, the “flyings” of the witches, and the music, this last so prominent a feature that Downes does not hesitate to call it “a kind of Opera.” In Shadwell’s Sabbat scenes the Devil himself appears, once in the form of a Buck Goat and once in human shape, whilst his satellites adore him with disgusting ceremonies. The witches are Mother Demdike, Mother Dickenson, Mother Hargrave, Mal Spencer, Madge, and others unnamed. Elizabeth Demdike and Jennet Hargreaves belonged to the first Lancashire witch-trials, the prosecutions of 1612; Frances Dickenson and Mal Spencer were involved in the Robinson disclosures of 1633; so it is obvious that Shadwell has intermingled the two incidents. In his play we have a coursing scene where the hare suddenly changes to Mother Demdike; the witches raise a storm and carouse in Sir Edward’s cellar something after the fashion of Madge Gray, Goody Price, and Goody Jones in _The Ingoldsby Legends_; Mal Spencer bridles Clod, a country yokel, and rides him to a witches’ festival, where Madge is admitted to the infernal sisterhood; the witches in the guise of cats beset a number of persons with horrible scratchings and miauling, Tom Shacklehead strikes off a grimalkin’s paw and Mother Hargreave’s hand is found to be missing: “the cutting off the hand is an old story,” says Shadwell in his notes. It will be seen that the later dramatist took many of his incidents from Heywood and Brome, although it is only fair to add that he has also largely drawn from original sources. Shortly after the Restoration was published a play dealing with one of the most famous of English sibyls, _The Life of Mother Shipton_. “A New Comedy. As it was Acted Nineteen dayes together with great Applause.... Written by T[homas] T[homson].” Among the Dramatis Personæ appear Pluto, the King of Hell, with Proserpina, his Queen; Radamon, A chief Spirit; Four other Devils. The scene is “The City of York, or Naseborough Grove in Yorkshire.” It is a rough piece of work, largely patched together from Middleton’s _A Chaste Maid in Cheapside_ and Massinger’s _The City Madam_, whilst the episodes in which Mother Shipton is concerned would seem to be founded on one of the many old chap-books that relate her marvellous adventures and prophetic skill. Agatha Shipton (her name is usually given as Ursula) is complaining of her hard lot when she encounters Radamon, a demon who holds high rank in the court of Dis. He arranges to meet her later, and returns to his own place to boast of his success. He reappears to her dressed as a wealthy nobleman; he marries her; and for a while she is seen in great affluence and state. At the commencement of Act III she finds herself in her poor cottage again. As she laments Radamon enters, he informs her who he really is, and bestows upon her magical powers. Her fame spreads far and wide, and as popular story tells, the abbot of Beverley in disguise visits her to make trial of her art. She at once recognizes him, and foretells to his great chagrin the suppression of the monasteries with other events. In the end Mother Shipton outwits and discomforts the devils who attempt to seize her, she is vouchsafed a heavenly vision, and turns to penitence and prayer. The whole thing is a crude enough commixture, of more curiosity than value. There are some well-written episodes in Nevil Payne’s powerful tragedy _The Fatal Jealousie_,[16] produced at Dorset Garden early in August, 1672. Among the characters we have Witch, Aunt of Jasper, the villain of the piece. Jasper, who is servant to Antonio, applies to his aunt to help him in his malignant schemes. At first he believes she is a genuine sorceress, but she disabuses him and frankly acknowledges: I can raise no Devils, Yet I Confederate with Rogues and Taylors, Things that can shape themselves like Elves, And Goblins—— Her imps _Ranter_ and _Swash_, _Dive_, _Fop_, _Snap_, _Gilt_, and _Picklock_, are slim lads in masquing habits, trained to trickery. None the less they manage an incantation scene to deceive Antonio and persuade him that his wife, Caelia, is false. An “Antick Dance of Devils” which follows is interrupted by the forcible entry of the Watch. The Aunt shows Jasper a secret hiding-place, whereupon he murders her and conceals the body in the hole. He pretends that she was in truth a witch and has vanished by magic. The Captain of the Watch, however, had detected her charlatanry long before, and presently a demon’s vizor and a domino are found on the premises. Later a little boy, who is caught in his devil’s attire, confesses the impostures, and trembling adds that in one of their secret chambers they have discovered their mistress’s corpse stabbed to death. Finally Jasper is unmasked, and only escapes condign punishment by his dagger. The character of the Witch is not unlike that of Heywood’s _Wise Woman of Hogsdon_, although in _The Fatal Jealousie_ the events take a tragic and bloody turn. Smith acted Antonio; Mrs. Shadwell, Caelia; Mrs. Norris, the Witch; and Sandford was famous in the rôle of Jasper. There are incantation scenes in Dryden’s tragedies, but these hardly come within our survey, as the magicians are treated romantically, one might even say decoratively, and certainly here no touch of realism is sought or intended. We have the famous episode in _The Indian-Queen_ (produced at the Theatre Royal in January, 1663-4), when Zempoalla seeks Ismeron the prophet who raises the God of Dreams to prophesy her destiny;[17] in the fourth act of _Tyrannick Love_ (Theatre Royal, June, 1669), the scene is an Indian cave, where at the instigation of Placidius the magician Nigrinus raises a vision of the sleeping S. Catharine, various astral spirits appear only to fly before the descent of Amariel, the Saint’s Guardian-Angel; in _Œdipus_, by Dryden and Lee (Dorset Garden, December, 1678), Teresias plays a considerable part, and Act III is mainly concerned with a necromantic spell that raises the ghost of Laius in the depths of a hallowed grove. In _The Duke of Guise_, moreover (Theatre Royal, December, 1682), there is something of real horror in the figures of Malicorne and his familiar Melanax, and the scene[18] when the miserable wizard, whose bond is forfeit, is carried shrieking to endless bale, cannot be read without a shudder even after the last moments of Marlowe’s _Faustus_. Act IV of Lee’s _Sophonisba_ (Theatre Royal, April, 1675) commences with the temple of Bellona, whose priestesses are shown at their dread rites. Cumana is inspired by the divinity, she raves in fury of obsession, there is a dance of spirits, and various visions are evoked. In Otway’s curious rehandling of _Romeo and Juliet_ which he Latinized as _The History and Fall of Caius Marius_ produced at Dorset Garden in the autumn of 1679, the Syrian witch Martha only appears for a moment to prophesy good fortune to Marius and to introduce a dance of spirits by the waving of her wand. Charles Davenant’s operatic _Circe_ (Dorset Garden, March, 1676-7) is an amazing distortion of mythological story. There are songs without number, a dance of magicians, storms, dreams, an apparition of Pluto in a Chariot drawn by Black Horses, but all these are very much of the stage, stagey, born of candle-light and violins, hardly to be endured in cold print. Ragusa, the Sorceress in Tate’s _Brutus of Alba: or the Enchanted Lovers_ (Dorset Garden, May, 1678) is a far more formidable figure. Tate has managed his magic not without skill, and the conclusion of Act III, an incantation, was deservedly praised by Lamb. Curiously enough the plot of _Brutus of Alba_ is the story of Dido and Æneas, Vergil’s names being altered “rather than be guilty of a breach of Modesty,” Tate says. But Tate supplied Henry Purcell with the libretto for his opera _Dido and Æneas_, wherein also witches appear. It must not be forgotten that _Macbeth_ was immensely popular throughout the whole of the Restoration period, when, as has been noted above, the witch scenes were elaborated and presented with every resource of scenery, mechanism, dance, song, and meretricious ornament. Revival followed revival, each more decorative than the last, and the theatre was unceasingly thronged. Duffett undertook to burlesque this fashion, which he did in an extraordinary Epilogue to his skit _The Empress of Morocco_, produced at the Theatre Royal in the spring of 1674, but for all his japeries _Macbeth_ never waned in public favour. Spirits in abundance appear in the Earl of Orrery’s unpublished tragedy _Zoroastres_,[19] the principal character being described as “King of Persia, the first Magician.” He is attended by “several spirits in black with ghastly vizards,” and at the end furies and demons arise shaking dark torches at the monarch whom they pull down to hell, the sky raining fire upon them. It was almost certainly never acted, and is the wildest type of transpontine melodrama. Edward Ravenscroft’s “recantation play” _Dame Dobson, or, The Cunning Woman_ (produced at Dorset Garden in the early autumn of 1683) is an English version of _La Devineresse; ou les faux Enchantements_ (sometimes known as _Madame Jobin_), a capital comedy by Thomas Corneille and Jean Donneau de Vise. This French original had been produced in 1679, and both the stage-craft and the adroit way in which the various tricks and conjurations are managed must be allowed to be consummately clever. An English comedy on a similar theme is _The Wise Woman of Hogsdon_, the intricacies of which are a triumph of technique. _La Devineresse_ was published in 1680 with a frontispiece picturing a grimalkin, a hand of glory, noxious weeds, two blazing torches and other objects beloved of necromancy. There are, moreover, eight folding plates which embellish the little book, and these have no small interest as they depict scenes in the comedy. But _Dame Dobson_ cannot be accounted a play of witchcraft; it is no more than an amusing study of dextrous charlatanry. The protagonist herself[20] is of that immortal sisterhood graced by Heywood’s sibyl, of whom it is said “She is a cunning woman, neither hath she her name for nothing, who out of her ignorance can fool so many that think themselves wise.” Mrs. Behn, in her amusing comedy _The Luckey Chance; or, An Alderman’s Bargain_, produced at Drury Lane in the late winter of 1686, 4to, 1687, has made some play with pretended magic in the capital scenes where Gayman (Betterton) is secretly brought by the prentice Bredwel (Bowman), disguised as a devil, to the house of Lady Fulbank (Mrs. Barry). Here he is received by Pert, the maid, who is dressed as an old witch, and conducted to his inamorata’s embraces. But the whole episode is somewhat farcically treated, and it is, of course, an elaborate masquerade for the sake of an intrigue.[21] Shadwell in 1681 took Witchcraft seriously, and notwithstanding the half-hearted disclaimer in his address “To the Reader” that prefaces _The Lancashire Witches_ I think he was sensible enough to recognize the truth which lies at the core of the matter in spite of the grotesqueness of the formulæ and spells doting hags and warlocks are wont to employ. Witchcraft was still a capital offence when some fifteen years later Congreve lightly laughed it out of court. Foresight (_Love for Love_), “an illiterate old Fellow, peevish and positive, superstitious, and pretending to understand Astrology, Palmistry, Phisiognomy, Omens, Dreams, etc.,” is in close confabulation with his young daughter’s Nurse, when Angelica his niece trips in to ask the loan of his coach, her own being out of order. He says no, and presses her to remain at home, muttering to himself some old doggerel which bodes no good to the house if all the womenfolk are gadding abroad. The lady fleers him, twits him with jealousy of his young wife: “Uncle, I’m afraid you are not Lord of the Ascendant, ha! ha! ha!” He is obstinate in his refusal; and she retorts: “I can make Oath of your unlawful Midnight Practices; you and the Old Nurse there.... I saw you together, through the Key-hole of the Closet, one Night, like _Saul_ and the Witch of _Endor_, turning the Sieve and Sheers, and pricking your Thumbs to write poor innocent Servants’ Names in Blood about a little Nutmeg-Grater, which she had forgot in the Caudle-Cup.” “Hussy, Cockatrice,” storms the old fellow beside himself with rage. Angelica mocks him even more bitterly, accuses him and the Nurse of nourishing a familiar, “a young Devil in the shape of a Tabby-Cat,” and with a few last thrusts she departs, trilling with merriment, in a sedan-chair. To return for a brief space to an earlier generation when it would have hardly been possible, or at least highly inadvisable, to treat Witchcraft in this blithesome mood, of two plays that would almost certainly have been of great interest in this connexion we have only the names, _The Witch of Islington_, acted in 1597, and _The Witch Traveller_, licensed in 1623. In addition to _The Masque of Queens_, which as has already been noted, served to some extent for a model to Shadwell when inditing his encyclopædic notes on magic, Ben Jonson in that sweet pastoral _The Sad Shepherd_ introduces a Scotch witch, Maudlin. The character is drawn with vigorous strokes; realism mingles with romance. During the quarrel scene which opens _The Alchemist_ Face threatens Subtle: I’ll bring thee, rogue, within The statute of sorcerie, _tricesimo tertio_ Of Harry the Eight. Dapper the gull asks Subtle for a familiar, as Face explains (I, 2): Why, he do’s aske one but for cups, and horses, A rifling flye: none o’ your great familiars. And later in order to trick him thoroughly Dol Common appears as the “Queene of Faerie.” The Queen of Elphin or Elfhame, who is particularly mentioned in the Scotch witch-trials, seems to be identical with the French Reine du Sabbat. In 1670 Jean Weir confessed: “That when she keeped a school at Dalkeith, and teached childering, ane tall woman came to the declarant’s hous when the childering were there; and that she had, as appeared to her, ane chyld upon her back, and one or two at her foot; and that the said woman disyred that the declarant should imploy her to spick for her to the Queen of Farie, and strik and battle in her behalf with the said Queen, (which was her own words).”[22] Beaumont and Fletcher afford us but few instances of witchcraft in the many dramas that conveniently go under their names. We have, it is true, a she-devil, Lucifera, in _The Prophetess_, but the incident is little better than clowning. Delphia herself is a severely classical pythoness far removed from the Sawyers, Demdikes, and Dickensons Sulpitia, in _The Custom of the County_ dons a conjurer’s robe and at Hippolita’s bidding blasts Zenocia almost to death by her spells, but yet she is more bawd than witch. Peter Vecchio in _The Chances_, “a reputed wizard,” is as sharp and cozening a practitioner as Forobosco, the mountebank, a petty pilferer, who is exposed and sent to the galleys at the end of _The Fair Maid of the Inn_; or Shirley’s Doctor Sharkino[23] whom silly serving-men consult about the loss of silver spoons and napkins; or Tomkis’s Albumazar; nay, Jonson’s Subtle himself.[24] In Marston’s _Sophonisba_ (4to, 1606) appears Erictho, borrowed from Lucan. The Friar in Chapman’s _Bassy d’Ambois_ (4to, 1607) puts on a magician’s habit, and after a sonorous Latin invocation raises the spirits Behemoth and Cartophylax in the presence of Bussy and Tamyra. A far more interesting drama than these is Shirley’s _S. Patrick for Ireland_, acted in Dublin, 1639-40, which has as its theme the conversion of Ireland by S. Patrick and the opposition of the Druids under their leader Archimagus. The character of S. Patrick moves throughout with a quiet spiritual dignity that has true beauty, and the magicians in their baffled potency for evil are only less effective. This drama is a work of stirling merit, to which I would unhesitatingly assign a very high place in Shirley’s theatre. We are shown the various attempts upon S. Patrick’s life: poison is administered in a cup of wine, the Saint drinks and remains unharmed; Milcho, a great officer, whose servant S. Patrick once was, locks him and his friends in a house and fires it. The Christians pass out unscathed through the flames which devour the incendiary. In the last scene whilst S. Patrick sleeps Archimagus summons a vast number of hideous serpents to devour him, but the Apostle of Ireland wakes, and expels for ever all venomous reptiles from his isle, whereon the earth gapes and swallows the warlock alive. Particularly impressive is the arrival of S. Patrick, when as the King and his two sons, his druids and nobles, are gathered in anxious consultation at the gates of their temple, they see passing in solemn procession through the woods a fair company with gleaming crosses, silken banners, bright tapers and incense, what time the sweet music of a hymn strikes upon the ear: Post maris sæui fremitus Iernæ (Nauitas cœlo tremulas beante) Uidimus gratum iubar enatantes Littus inaurans. (Now that we have crossed the fierce waves of ocean to Ireland’s coast, and Heaven has blessed its poor fearful wanderers, wending our way along with joy do we see a sunbeam of light gilding these shores.) As Marlowe’s _Dr. Faustus_ has already been treated in this connexion it may not be altogether impertinent very briefly to consider some three or four other Elizabethan plays in which the Devil appears among the Dramatis Personæ, even if he act no very prominent part. These for the most part fluctuate between the semi-serious and merest buffoonery. Thus the prologue of _The Merry Devil of Edmonton_ (4to, 1608), in which the enchanter Peter Fabell tricks the demon who has come to demand the fulfilment of his contract, is at the opening managed with due decorum, but it soon adopts a lighter, and even trivial, vein. William Rowley’s _The Birth of Merlin, or The Childe hath found his Father_ (not printed until 1662) is a curious medley of farce and romance, informed with a certain awkward vigour and not wholly destitute of poetry. Dekker’s _If it be not good, the Divel is in it_ (4to, 1612), which may be traced to the old prose _History of Friar Rush_, depicts the exploits of three lesser fiends who are dispatched to spread their master’s kingdom in Naples. It is an unequal play, the satire of which falls very flat, since it is obvious that the poet was not sincere in his extravagant theme.[25] Ben Jonson’s _The Devil is an Ass_, acted in 1616, is wholly comic. Pug, “the less devil,” who visits the earth, and engages himself as servant to a Norfolk squire, Fabian Fitzdottrel, is hopelessly outwitted on every occasion by the cunning of mere mortals. Eventually he finds himself lodged in Newgate, and in imminent danger of the gallows were he not rescued by the Vice, Iniquity, by whom he is carried off rejoicing to the nether regions. His fate may be compared with that of Roderigo in Wilson’s excellent comedy _Belphegor: or, The Marriage of the Devil_ (produced at Dorset Garden in the summer of 1690), who with his two attendant devils flies back to his native hell to escape the woes of earth. In _The Devil’s Charter_, however, by Barnaby Barnes (1607), we have what is undoubtedly a perfectly serious tragedy, which if not exactly modelled upon, at least owes many hints to Marlowe’s _Faustus_. It is flamboyant melodrama and wildly unhistorical throughout, a very tophet of infernal horror. The chief character is a loathsome caricature of Pope Alexander VI,[26] and, as we might expect, all the lies and libels of Renaissance satirists and Protestant pamphleteers are heaped together to portray an impossible monster of lust and crime. The filthiest scandals of Burchard, Sanudo, Giustiniani, Filippo Nerli, Guicciardini, Paolo Giovio, Sannazzaro and the Neapolitans, have been employed with one might almost say a scrupulous conscientiousness. The black art, in particular, occupies a very prominent place in these lurid scenes. Alexander has signed a bond with a demon Astaroth, and it is to this contract that all his success is ascribed. In Act IV there is a long incantation when the Pope puts on his magical robes, takes his rod and pentacle, and standing within the circle he has traced conjures in strange terms, commencing a Latin exorcism which tails off into mere gibberish. Various devils appear, and he is shown a vision of Gandia’s murder by Cæsar,[27] with other atrocities. At the climax of the piece we have the banquet with Cardinal Adrian of Corneto, and whilst the guests talk “The Devill commeth and changeth the Popes bottles.” The Borgias are poisoned, and in a far too protracted “Scena Ultima” Alexander discourses and disputes frantically with the demons who appear to mock and torment him. There is the old device of an ambiguous contract; presently a “Devil like a Poast” enters winding a horn to summon the unhappy wretch, who raves and shrieks out meaningless ejaculations as he is dragged away amid thunder and lightning. This sort of thing pandered to the most brutalized appetites of the groundlings, and _The Devil’s Charter_ may be summed up as a disgusting burlesque not without its quota of vile stuff that is so repulsive as to be physically sickening. Upon a careful consideration of those seventeenth-century plays which have Witchcraft as their main theme, and leaving on one side, for our purpose, the essentially romantic treatment of the subject, however realistic some details of the picture may be, it is, I think, beyond dispute that _The Witch of Edmonton_ in the figure of Mother Sawyer offers us the best contemporary illustration of the Elizabethan witch. The drama itself is one of no ordinary merit and power, whilst the understanding and restraint which set the play apart from its fellows also raises it to the level of genuine tragedy. It should be noticed that we see a witch, so to speak, in the process of making. Mother Sawyer is in truth the victim of the prejudices of the village hinds and ignorant yokels. When she first appears it is merely as a poor old crone driven to desperation by her brutal neighbours; the farmers declare she is a witch, and at length persecution makes her one. She is malignant and evil enough once the compact with the demon has been confirmed; she longs from the first to be revenged upon her enemies and mutters to herself “by what art May the thing called Familiar be purchased?” But, in one sense, she is urged and hounded to her destiny, and the authors, although never doubting her compact with the powers of darkness, her vile and poisonous life, show a detached but very real sympathy for her. It is this touch of humanity, the pathos and pity of the poor old hag, repulsive, wicked, and baleful as she may be, which must place _The Witch of Edmonton_ in my opinion among the greatest and most moving of all Elizabethan plays. It is no pleasant task to turn now to the theatre of the eighteenth century in this connexion. The witch became degraded; she was comic, burlesqued, buffooned; a mere property for a Christmas pantomime: _Harlequin Mother Bunch_, _Mother Goose_, _Harlequin Dame Trot_, Charles Dibdin’s _The Lancashire Witches, or The Distresses of Harlequin_[28] whose tinsel, music, and mummery drew all the macaronis and cyprians in London to the Circus during the winter of 1782-3. Some subtle premonition of the great success of Harrison Ainsworth’s powerful story _The Lancashire Witches_—for this and the macabre _Rookwood_ are probably the best of the work of a talented writer now unduly depreciated and decried—seems to have suggested to the prolific Edward Fitzball his “Legendary Drama in Three Acts,” _The Lancashire Witches, A Romance of Pendle Forest_, produced at the Adelphi Theatre, 3 January, 1848. It was quick work, for it was only a month before, 3 December, 1847, that Ainsworth, writing to his friend Crossley of Manchester, states that he has accepted the liberal offer of the _Sunday Times_—£1000 and the copyright to revert to the author on the completion of the work—that his new romance _The Lancashire Witches_ should make its appearance as a serial in the paper. He had already sketched out the plan, and he must have given Fitzball an idea of this, or at least have allowed the dramatist the use of some few rough notes, for although the play and the novel have little, one might say nothing essential, in common, the chief character in the theatre, Bess of the Woods, “140 years old, formerly Abbess of S. Magdalen’s, doomed for her crimes to an unearthly age,” is none other than the anchoress Isolde de Heton.[29] The fourth scene of the second act presents the ruins of Whalley Abbey by moonlight. During an incantation the picture gradually changes; the broken arches form themselves into perfect masonry; the ivy disappears from the windows to show the ruby and gold of coloured glass; the decaying altar glitters with piled plate and the gleam of myriad tapers. A choir of nuns rises from the grave to dance with spectral gallants. Among the votaries are Nutter, Demdike, and Chattox “Three Weird Sisters, doomed for their frailties to become Witches.” But they utter no word, and have no part save this in the action. This scene must have proved extraordinarily effective upon the stage. It owes much to the haunted convent in Meyerbeer’s _Robert le Diable_, produced at the Académie Royale in November, 1831, and given in a piratical form both at Drury Lane and Covent Garden within a few weeks. Nor is it comparable to its original. In Fitzball’s melodrama O. Smith appeared as Gipsy Dalian, a new character; and Miss Faucit (Mrs. Bland) as Bess of the Woods. The play, for what it is, a luridly theatrical and Surrey-side sensation, has merit; but to speak of it in the same breath as Middleton or even as Barnes would be absurd. Shelley’s genius has with wondrous beauty translated for us scenes from Calderon’s _El Magico Prodigioso_, one of the loveliest songs of the Spanish nightingale. On another plane, admittedly, but yet, I think, far from lacking a simple comeliness of its own and surely not without most poignant pathos, is Longfellow’s New England Tragedy _Giles Corey of the Salem Farms_.[30] The honest sincerity of Cotton Mather, the bluff irascible heartiness of Corey himself, the inopportune scepticism of his wife—which to many would seem sound common sense—the hysteria of Mary Walcot, the villainy of John Gloyd, all these are sketched with extraordinary power, a few quiet telling touches which make each character, individual, alert, alive. In the French theatre we have an early fourteenth-century _Miracle de Nostre Dame de Robert le Dyable_, and in 1505 was acted _Le mystère du Chevalier qui donna sa femme au Diable_, à dix personnages. As one might well expect during the long classical period of the drama Witchcraft could have found no place in the scenes of the French dramatists. It would have been altogether too wild, too monstrous a fantasy. And so it is not until the 24 floréal, An XIII (11 June, 1805) that a play which interweaves sorcery as its theme is seen at the Théâtre français, when _Les Templiers_ of Raynouard was given there. A few years later _Le Vampire_, a thrilling melodrama by Charles Nodier and Carmouche, produced on 13 August, 1820, was to draw all idle Paris to the Porte-Saint-Martin. In 1821 two facile writers quick to gauge the public appetite, Frédéric Dupetit-Mèré and Victor Ducagne, found some favour with _La Sorcière, ou l’Orphelin écossais_. Alexandre Dumas, and one of his many ghosts Auguste Maquet, collaborated (if one may use the term) in a grandiose five-act drama _Urbain Grandier_, 1850. _La Sorcière Canidie_, a one-act play by Aurélien Vivie, produced at Bordeaux in 1888 is of little account. _La Reine de l’Esprit_ (1891) of Maurice Pottecher is founded to some extent on the _Comte de Gabalis_, whilst the same author’s three-act _Chacun cherche son Trésor_, “histoire des sorciers” (1899) was not a little helped by the music of Lucien Michelet. There are many excuses for passing over with a mere mention _Les Noces de Sathan_ (1892), a “drama ésoterique,” by Jules Bois, and _Les Basques ou la Sorcière d’Espelette_, a lyric drama in three acts by Loquin and Mégret de Belligny, produced at Bordeaux in 1892, has an interest which is almost purely local. Alphonse Tavan’s _Les Mases_ (sorciers), a legendary drama of five acts of alternating prose and verse seen in 1897 was helped out by every theatrical resource, a ballet, chorus, mechanical effects, and confident advertisement. Serge Basset’s _Vers le Sabbat_ “évocation de sorcellerie en un acte” which appeared in the same year need not be seriously considered. Nor does an elaborate episode “Le Sabbat et la Herse Infernale,” wherein Mons. Benglia appeared as Satan, that was seen in the Folies Bergère revue, _Un Soir de Folie_, 1925-6, call for more than the briefest passing mention. In more recent days Victor Sardou’s _La Sorcière_ is a violent, but effective, melodrama. Produced at the Théâtre Sarah-Bernhardt, 15 December, 1903, with De Max as Cardinal Ximenes and Sarah Bernhardt as the moresque Zoraya, it obtained a not undeserved success. The locale of the tragedy is Toledo, anno domini 1506; Act IV, the Inquisition scene; and Act V, the square before the Cathedral with the grim pyre ready for the torch, were—owing to the genius of a great actress—truly harrowing. Of course it is very flamboyant, very unbalanced, very unhistorical, but in its gaudy theatrical way—all the old tricks are there—_La Sorcière_ had an exciting thrill for those who were content to be unsophisticated awhile. John Masefield’s adaptation from the Norwegian of Wiers-Jennsen, _The Witch_,[31] a drama in four acts, is a very different thing. Here we have psychology comparable to that of Dekker and Ford. Nor will the performances of Miss Janet Achurch as Merete Beyer and Miss Lillah McCarthy as Anne Pedersdotter easily be forgotten. As a picture of the horror of Witchcraft in cold Scandinavia, the gloom and depression of formidable fanaticism engendered by Lutheran dogma and discipline with the shadow of destiny lowering implacably over all, this is probably the finest piece of work dealing in domestic fashion with the warlock and the sorceress that has been seen on the English stage since the reign of wise King James three hundred years ago. NOTES TO CHAPTER VII [1] The _Floralia_, the most wanton of Roman festivals, commenced on the fourth day before the Kalends of May, and during these celebrations the spectators insisted that the _mimæ_ should play naked, “agebantur [_Floralia_] a meretricibus ueste exutis omni cum uerborum licentia, motuumque obscænitate,” says the old commentator on Martial I, 1. “Lasciui Floralia laeta theatri” Ausonius names them, _De Feriis Romanis_, 25. Lactantius, _De Institutionibus Diuinis_, I, 20, writes: “Celebrantur ergo illi ludi cum omni lasciuia, conuenientes memoriæ meretricis. Nam praeter uerborum licentiam, quibus obscænitas omnis effunditur; exuuntur etiam uestibus populo flagitante meretrices; quæ tunc mimorum funguntur officio; et in conspectu populi usque ad satietatem impudicorum luminum cum pudendis motibus detinentur.” Both S. Augustine and Arnobius reprehend the lewdness of these naked dances. At Sens during the Feast of Fools, when every licence prevailed, men were led in procession _nudi_. Warton (_History of English Poetry_, by T. Warton, edited by W. C. Hazlitt, 4 vols., 1871), II, 223, states that in the Mystery Plays “Adam and Eve are both exhibited on the stage naked, and conversing about their nakedness; this very pertinently introduces the next scene, in which they have coverings of fig-leaves.” In a stage-direction of the Chester Plays we find: “Statim nudi sunt.... Tunc Adam et Eua cooperiant genitalia sua cum foliis.” Chambers, _The Mediæval Stage_, II, 143, doubts whether the players were actually nude, and suggests a suit of white leather. Warton, however, is probably right. [2] Phales was an early deity, very similar to Priapus, and closely associated with the Bacchic mysteries. For the refrain see _The Acharnians_, 263-265. [3] See Callot’s series of character-etchings, _I Balli di Sfessanio_. [4] Not to be confused with the printer Fust, as was at one time frequently supposed. [5] In Marlowe’s play Faust welcomes “German Valdes and Cornelius.” Who Valdes is has not been satisfactorily explained. The suggestion of Dr. Havelock Ellis that Paracelsus seems intended is no doubt correct. [6] Translated from the Middle Dutch by Harry Morgan Ayres, with an Introduction by Adriaan J. Barnouw. _The Dutch Library_, The Hague: Martinus Nijhoff. 1924. [7] The International Theatre Society gave a private subscription performance of _Mary of Nimmegen_ at Maskelyne’s Theatre on Sunday, 22 February, 1925. But such a play, presenting crowded scenes of burgher life, the streets, the market-place, to be effective demands a large stage and costly production. [8] Meroe is the hag “saga et diuina” in Apuleius, _Metamorphoseon_, I. [9] _Macbeth_ was tinkered at almost from the first. Upon the revival of the play immediately after the Restoration the witch scenes were given great theatrical prominence. 7 January, 1667, Pepys declared himself highly delighted with the “divertissement, though it be a deep tragedy.” [10] _The Witch of Edmonton_ was revived under my direction for two performances at the Lyric Theatre, Hammersmith, 24 and 26 April, 1921. Sybil Thorndike played the Witch, Russell Thorndike, the Familiar; Ion Swinley, Frank Thorney; Edith Evans, Ann Ratcliffe; and Frank Cochrane, Cuddy Banks. [11] 4to 1634: _Stationers’ Register_, 28 October. [12] In a famous Scotch trial for witchcraft, 1661, Jonet Watson of Dalkeith confessed “that the Deivill apeired vnto her in the liknes of ane prettie boy, in grein clothes.” [13] Liber III. _De Magis et Maleficis Finnorum._ [14] Tegue o’ Divelly was acted by Antony Leigh, the most famous comedian of his day, and an intimate friend of Shadwell. [15] Curiously enough Halliwell in _The Poetry of Witchcraft_, a private reprint of Heywood and Shadwell’s plays, 80 copies only, 1853, has not reproduced the italic letter but gives all the dialogue in roman to the great detriment of this edition. [16] Licensed for printing 2 November, 1672, and published quarto with date 1673. [17] At a later revival Ismeron’s recitative “Ye twice ten hundred Deities” was set by Purcell. [18] Dryden’s. He wrote the first scene of the first act, the whole of the fourth act, rather more than one-half of act five, and Lee is responsible for the rest of the tragedy. [19] For a full analysis and critical examination of _Zoroastres_ see my article in the _Modern Language Review_, XII, Jan., 1917. [20] The title-rôle Dame Dobson was played by Mrs. Corey, a mistress of broad comedy, who was much admired for her humour by Samuel Pepys. [21] Mrs. Behn owes a hint to Shirley’s _The Lady of Pleasure_, licensed by Sir Henry Herbert, 15 October, 1635; 4to. 1637. It must be confessed that she has managed her scenes with more wit and spirit than the older dramatist, whose charming verse is perhaps too seriously poetical for the actual situation. [22] George Sinclar, _Satan’s Invisible World Discovered_, 1685. Reprint, Edinburgh, 1871. Supplement, I, p. xii. [23] _The Maid’s Revenge_, acted 1626, printed 1639. [24] Compare Mopus in Wilson’s _The Cheats_ (acted in 1662); Stargaze in _The City Madam_; Rusee, Norbrett, and their accomplices in _Rollo_; Iacchelino in Ariosto’s _Il Negromante_; and a score beside. [25] Sir Adolphus Ward, _English Dramatic Literature_, 1899, II, 465, says that Langbaine wrongly supposed the source of this play to be “Machiavelli’s celebrated _Novella_ on the marriage of Belphegor.” But this is hardly correct. Langbaine wrote: “The beginning of his Play seems to be writ in imitation of _Matchiavel’s_ Novel of _Belphegor_: where _Pluto_ summons the Devils to Councel.” [26] For a fitting account of Alexander VI see _Le Pape Alexandre VI et les Borgia_, Paris, 1870, by Père Ollivier, O.P.; also Leonetti _Papa Alessandro VI secondo documenti e carteggi del tempo_, 3 vols., Bologna, 1880. _Chronicles of the House of Borgia_, by Frederick, Baron Corvo, 1901, may be studied with profit. Monsignor de Roo’s _Material for a History of Pope Alexander VI_, 5 vols., Bruges, 1924, is of the greatest value, and completely authoritative. [27] The murderer of the Duke of Gandia is unknown to history, if not to historians. [28] The songs only are printed, 8vo, 1783. [29] Fosbrooke, _British Monachism_, says that in the reign of Henry VI one Isolde de Heton petitioned the King to let her be admitted as an anchoress in the Abbey of Whalley. But afterwards she left the enclosure and broke her vows, whereupon the King dissolved the hermitage. [30] The incidents are historically correct. See Cotton Mather’s _Wonders of the Invisible World_. Corey refusing to plead was pressed to death. [31] Originally produced 10 October, 1910, at the Royalty, Glasgow: in London, 31 January, 1911, at the Court. Revived at the Court, 29 October, 1913, when it ran for a month, and was afterwards included in the subsequent three weeks’ repertory season. BIBLIOGRAPHY This Bibliography does not aim at anything beyond presenting a brief and convenient hand-list of some of the more important books upon Witchcraft. It does not even purport to give all those monographs to which reference is made in the body of this study. A large number of books I have thought it superfluous to include. Thus I have omitted general works of reference such as the _Encyclopædia Britannica_, Du Cange’s _Glossarium ad scriptores mediæ et infimæ latinitatis_, Dugdale’s _Monasticon_; daily companions such as the Missal, the Breviary, the Bible; Homer, Vergil, Horace, Ovid, Petronius, Lucan; Shakespeare, Marlowe, Ford, Dryden, Burton’s _Anatomy of Melancholy_, and English classics; those histories which are on every library shelf, Gibbon, Lingard, Ranke; and such histories as the _Cambridge Modern History_. On the other hand, I have of purpose included various books which may not seem at first sight to have much connexion with Witchcraft, although they are, as a matter of fact, by no means impertinent. In order to appreciate this vast subject in all its bearings, even the desultory or amateur investigator should at least be fairly grounded in theology, philosophy, and psychology. The student must be a capable theologian. I have devoted some particular attention to the works of the demonologists, now almost universally neglected, but a close study of which is essential to the understanding of occultism and the appreciation of the grave dangers that may lurk there. I am only too conscious of the plentiful lacunæ in this Bibliography. However, to attempt anything like a complete catalogue—if, indeed, it were possible to essay so illimitable a task—would involve the listing of very many thousands of books, and would itself require no inconsiderable a tale of volumes. I need hardly point out that side by side with works of the highest importance it has been found necessary to include a few of no great value, which yet have their use to illustrate some one point or special phase. GENERAL CAILLET, ALBERT L. _Manuel bibliographique des sciences psychiques ou occultes, science des Mages, hermétique, astrologie, Kabbale, Francmaçonnerie, médecine ancienne, mesmérisme, sorcellerie, singularités, etc._ 3 vols. Paris, 1913. GRÆSSE, JOHAN GEORG THEODOR. _Bibliotheca magica et pneumatica._ Leipzig, 1843. (In spite of obvious defects a very valuable bibliography.) YVE-PLESSIS, R. _Bibliographie française de la sorcellerie._ Paris, 1900. (An immense and exhaustive work on French books.) AARON THE GREEK [Simon Blocquel]. _La Magie rouge._ Paris, 1821. ABNER, THEODORE. _Les apparitions du Diable._ Brussels, 1879. ACONTIUS. _Stratagemata Satanæ._ Libri VIII. Basle, 1565. _Acta Sanctorum._ Par les Bollandistes. Antwerp, Tongerloo, Brussels, 1644 _sqq._ Reprinted, Paris, 1863 _sqq._ ADHÉMAR DE CHABANNES. _Chronicle_: in _Monumenta Germaniæ historica_. Ed. G. A. Pertz, etc. Vol. IV. AGOBARD, S. _Opera omnia._ Migne, _Patrologia latina_. Vol. CIV. AGRIPPA, HEINRICH CORNELIUS. _La philosophie occulte de Henr. Corn. Agrippa ... traduite du latin_ [par A. Levasseur]. 2 vols. Hague, 1727. _Œuvres magiques ... mises en français par Pierre d’Aban._ Rome, 1744. (Of the last rarity. There are other editions, Liège, 1788; Rome, 1800; Rome, 1744 (_circa_ 1830); but all these are extremely scarce.) ALANUS (Alain de Lille). _Aduersus hæreticos et Waldenses._ Ed. J. Masson. Paris, 1612. ALANUS, HENRICUS. _Ciceronis de Divinatione et de Fato._ 1839. ALBERT, LE PETIT. _Alberti Parui Lucii libellus de mirabilibus Naturæ arcanis._ (This treatise which tells how to confect philtres, make talismans, use the hand of glory, discover treasures, etc., has been very frequently translated into French, generally under the running title _Les secrets merveilleux de la magie naturelle et cabalistique_....) BL. ALBERTUS MAGNUS, O.P. _Opera omnia._ Ed. Father Peter Jammy, O.P. 21 vols. Lyons, 1651, etc. _De alchimia._ (This treatise is said to be doubtful.) _De secretis mulierum._ (This work is certainly not from the pen of the great Dominican doctor, to whom, however, it was universally ascribed. There are a vast number of editions, and translations, especially into French. _Les secretz des femmes et homes ... stampato in Torino par Pietro Ranot_, N.D. _circa_ 1540. _Les secrets admirables du grand Albert._ Paris, 1895.) _Commentaria._ Lib. IV, dist. 34. _An maleficii impedimento aliquis potest impediri a potentia cocundi._ (_Nœud de l’aiguillette._) ALEXANDER III, POPE. _Epistolæ_ apud _Regesta R. R. Pontificum_. Nos. 10, 584-14, 424. Ed. Jaffé. And Löwenfeld’s _Epistolæ Pontif. Rom. ineditæ_. Leipzig, 1885. ALEXIS. _Secreti del reverendo Donno Alessio Piemontese._ Venice, 1555. (Attributed by Girolamo Muzio to the alchemist Girolamo Ruscelli.) ALLARD, PAUL. _Histoire des persécutions._ 5 vols. Paris, 1892. _Julien l’Apostat._ 3 vols. Paris, 1900. ALPHONSUS LIGUORI, S. _Theologia Moralis._ 9 vols. Malines, 1828. Also ed. P. Gaudé, C. SS. R. Rome, 1905. ALVARO, PELAYO. _De Planctu Ecclesiæ._ Venice, 1560. AMBROISE DA VIGNATE (_c._ 1408). _Tractatus de Hæreticis._ Rome, 1581. AMBROSE, S. _Opera omnia._ Ed. Paolo Angelo Ballerini. 6 vols. Folio. Milan, 1875. ANANIA, GIOVANNI LORENZO. _De Natura Dæmonum._ Apud Vol. II. _Malleus Maleficarum._ 1669. _Anonymi Gesta Francorum et Aliorum Hierosolymitanorum._ Oxford. 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EWICK, JOHN. _De sagorum quos uulgo ueneficos appellant natura._ Bremen, 1584. EYMERIC, O.P., NICHOLAS. _Directorium Inquisitorum._ Rome, 1585; Venice, 1607. FERRERES, S.J., I. B. _Theologia Moralis._ 11th ed. Rome, 1921. FRANZELIN, S.J., CARDINAL I.B. _De Deo Uno._ Rome. FRAZER, SIR JAMES. _Folk-Lore in the Old Testament._ London, 1923. FREDERICQ, DR. PAUL. _Corpus documentorum Inquisitionis hæreticæ prauitatis neerlandicæ._ 5 vols. Ghent, 1889 _sqq_. _Geschiednes der Inquisitie de Neerlanden tot aen hare herinrichting onder Keizer Karel V_ (1025-1520). Ghent, 1892 _sqq._ FREUD, SIGISMUND. _Totem and Taboo. Resemblances between the Psychic Lives of Savages and Neurotics._ London, 1919. GAFFARELLUS, JAC. _Curiositates Inauditæ._ Hamburg, 1706. GAMS, PIUS BONIFACIUS, O.S.B. _Die Kirchengeschichte von Spanien._ 5 vols. Regensburg, 1862. GARRIGON-LEGRANGE, O.P., REGINALD. _De Reuelatione._ 2nd ed. 1921. GAYA, LOUIS DE. _Cérémonies nuptiales de toutes les nations._ Paris, 1680. GEBHART, EMILE. _L’Italie mystique._ Paris, 1893. GEILER, JOHANN. _Die Emeis. Dies ist das Buch von der Omeissen._ 1516. GEMELLI, O.F.M., AGOSTINO. _Psicologia e Biologia._ Rome, 1920. _Non Moechaberis._ Milan, 1923. GERBERT. _Epistolæ._ Migne. _Pat. Lat._ Vol. CXXXIX. GERUASIUS OF TILBURY. _Otia imperialia._ Written _circa_ 1214. GIESSLER, J. C. L. _Ecclesiastical History._ Eng. tr. 1853. GILLY, WILLIAM STEPHEN. _Narrative of Researches among the Vaudois._ London, 1824. GIUSTINIANUS, BERNARDUS. _Historia Generale della Monarchia Spagnuola Antica, e Moderna._ Venezia, 1674. GODELMANN, JOHAN GEORG. _Disputatio de Magis_. Frankfort, 1584. _Tractatus de Magis._ 1591. GODWIN, WILLIAM. _Lives of the Necromancers._ London, 1834. GÖRRES, JOHANN JOSEPH. _Die christliche Mystik._ 4 vols. 1836-42. French translation: _La Mystique Divine, Naturelle, et Diabolique_.... 5 vols. Paris, 1861. GOUGENOT DES MOUSSEAUX, HENRI ROGER. _Dieu et les Dieux._ Paris, 1854. _Mœurs et pratiques des Démons._ Paris, 1854. _La magie au dix-neuvième siècle._ Paris, 1860. _Les médiateurs et les moyens de la magie._ Paris, 1863. _Les hauts phénomènes de la magie._ Paris, 1864. (Vampires; the Incubus and the Succubus.) GOUJET, ABBÉ. _Histoire des inquisitions._ 2 vols. Cologne, 1759. GREGOROVIUS, FERDINAND. _Geschichte der Stadt Rom im Mittlealter._ 7 vols. 5th ed. Stuttgard and Berlin, 1903 _sqq._ GREGORY VII, POPE S. _Epistolarum libri_ apud Mansi _Sacrorum conciliorum nona ... collectio_. Florence, 1759. Also _S. Gregorii VII epistolæ et diplomata_. Ed. Horoy. Paris, 1877. GREGORY XV, POPE. _Gesta Pontificum Romanorum._ Venice, 1688. IV, 522-36. GREGORY THE GREAT, POPE S. _Opera omnia._ Ed. J. B. Gallicoli. 17 vols. Venice, 1765-76. Reprinted by Migne. _Pat. Lat._ LXXV-LXXIX. GREGORY OF NAZIANZUS, S. _Opera omnia._ Paris, 1609-11. Migne. _Pat. Gr._ 4 vols. XXXV-XXXVIII. GREGORY OF TOURS, S. _Scriptores Rerum Merouinginarum apud monumenta Germaniæ historica._ I, Pt. I, pp. 1-30. 1884-5. GRILLANDUS, PAULUS. _De sortilegiis._ Lyons, 1533. GUAITA, STANISLAS DE. _Essais de sciences maudites._ Paris and Brussels, 1886. GUAZZO, FRANCESCO MARIA, AMBROSIAN. _Compendium Maleficarum._ Milan, 1608. (One of the most valuable of the earlier writers.) GUI, BERNARD. _Practica Inquisitionis hæreticæ prauitatis._ Ed. Mgr. C. Douais. Paris, 1886. GURY, S.J., I. P. _Theologia moralis._ 15th ed. Rome, 1907. Cum supplemento, Acta et Decreta nouissima. 2 vols. Rome, 1915. HALES, ALEXANDER OF. _Summa uniuersæ theologiæ._ Cologne, 1622. HANSEN, J. _Quellen und Untersuchungen zur Geschichte des Hexenwahns._ Bonn, 1901. HARTMANN, FRANZ. _The Life of Phillippus Theophrastus Bombast, of Hohenheim, known by the name of Paracelsus, and the Substance of his Teachings. Magic, White and Black._ HASKINS, CHARLES HOMER. _Studies in the History of Mediæval Science._ London, 1924. HAUBER, E. D. _Bibliotheca magica et scripta magica._ 1738-45. HAURÉAU, B. _Histoire de la Philosophie Scolastique._ Paris, 1880. HECKETHORN, CHARLES WILLIAM. _Secret Societies of All Ages and Countries._ 2 vols. London, 1897. HEDELIN, FRANÇOIS. _Des Satyres, Brutes, Monstres et Demons._ Paris, 1627. Reprinted, Liseux, 1888. HEINER, FREDERICH. _De Processu Criminali Ecclesiastico._ Rome, 1920. HEISTERBACH, CÆSARIUS. _Dialogus Miraculorum._ _Circa_ 1225. Reprints, 1861, 1901. HERRMANN. _Institutiones Theologiæ Dogmaticæ._ 2 vols. Rome, 1914. HETZENAUER, O.M.C., MICHAEL. _Commentarius in librum Genesis._ Rome, 1910. HILDEBERT, S. _Opera omnia._ Paris, 1708. HINCMAR. _Opera omnia._ Migne, _Pat. Lat._ Vols. CXXV, CXXVI. HOCHSTRATEN, JACOB VON. _Quam grauiter peccent quærentes auxilium a maleficiis._ 1510. HOFFMANN, FRIDOLIN. _Geschichte des Inquisition._ 2 vols. Bonn, 1878. HOLMES, EDMOND. _The Albigensian or Catharist Heresy._ London, 1925. (A truly amazing defence of the Albigensians. The author has completely misunderstood their heresies.) HOWEY, M. OLDFIELD. _The Horse in Magic and Myth._ London, 1923. HUEBER. _Menologium S. Francisci._ Munich, 1608. HUGON, R. P. _De Deo Uno et Trino._ 2 vols. Rome. _Inquisition._ _Orden que Comunmente se Guarda en el Santo Oficio de la Inquisition._ Valencia, 1736. (Contains all the forms and procedure of the Holy Office.) IVES, GEORGE. _A History of Penal Methods._ 1914. Chapter II: “The Witch Trials.” (The whole volume is valuable.) JACOLLIOT, LOUIS. _Occult Science in India and among the Ancients._ JACQUERIUS, NICOLAS. _Flagellum Dæmonum Fascinariorum._ 1458. JADEROSA, FEDERICO. _Theologia Moralis._ Rome, 1922. JAUER, NICOLAUS VON. _Tractatus de superstitionibus._ 1405. JENNINGS, HARGRAVE. _The Rosicrucians: their Rites and Mysteries._ JORDANUS DE BERGAMO. _Quæstio de strigis._ 1476. MS. 3446. Bibliothèque nationale, Paris. KELLY, EDWARD. _The Alchemical Writings of Edward Kelly._ Trans. from the Hamburg Edition of 1676. 1893. KHUNRATH, H. _Amphitheatrum Sapientiæ Æternæ Solius Veræ, Christiano-Kabalisticum, Diuino-Magicum, nec non Physico-Chymicum, Tertriunum, Catholicon._ Hanover, 1609. KRAKEWITZ VON, ALBERT JOACHIM. _De theologia dæmonum._ Wittenberg, 1715. KRONE. _Fra Dolcino und die Patarerer._ Leipzig, 1844. LAURENT-NAGOUR. _Occultismus und Liebe_, 1903. LAVATER, LOYS. _De spectris, lemuribus, etc._ Geneva, 1570. LEA, HENRY CHARLES. _History of the Inquisition of the Middle Ages._ New York, 1887; London, 1888; and 3 vols., 1906. _Superstition and Force._ Philadelphia, 1866. 3rd ed., 1878; 4th ed., 1892. _Studies in Church History._ Philadelphia, 1869. _History of the Inquisition in Spain._ 4 vols. London, 1906-7. _The Inquisition in the Spanish Dependencies._ New York, 1908. (The works of Henry Charles Lea, lengthy and laborious as they are, must be used with the utmost caution and need continually to be corrected. They are insecure, and bitterly biased, since even when facts are not widely distorted a wrong interpretation is inevitably placed upon them. Their value and merit can but be regarded as fundamentally shaken. The following criticism will be found useful: Paul Maria Baumgarten: _Die Werke von Henry Charles Lea und verwandte Bücher_, 1908. Eng. tr.: _H. C. Lea’s Historical Writings: A critical inquiry into their method and merit_. 1909.) LEE, FREDERICK GEORGE, D.D. _The Other World._ 2 vols. London, 1875. _More Glimpses of the World Unseen._ 1878. _Glimpses in the Twilight._ 1885. _Sights and Shadows._ 1894. (Scholarly and valuable works.) LEHMANN. _Aberglaube._ 2nd ed. 1908. LEHMKUHL, S.J., AUG. _Casus conscientiæ._ 2 vols. Rome, 1913. LE LOYER, PIERRE. _Discours et histoires des spectres._ Paris, 1605. LÉVI, ELIPHAS (ALPHONSE LOUIS CONSTANT). _The History of Magic._ Trans. by Arthur Edward Waite. 1922. _The Paradoxes of the Highest Science._ (Footnotes by a Master of the Wisdom.) _Transcendental Magic._ (Translated, annotated, and introduced by Arthur Edward Waite.) LEYSER, AUGUST. _De crimine magiæ._ Wittenberg, 1737. LICOSTHENES, CONRAD. _De prodigiis et ostentis._ 1557. LOCATI, UMBERTO. _Opus iudiciale inquisitorum._ Rome, 1572. LOMBARD, PETER. _Quatuor Libri Sententiarium._ Printed 1472. Paris, 1892. (Best edition is that found in the Commentary of S. Bonaventura. _Opera S. Bonauenturæ._ Quaracchi, 1885, I-IV.) LOMEIER, J. _Epimenides sive De Ueterum Gentilium Lustrationibus Syntagma._ Zutphen, 1700. LOTTINI, O.P., GIOVANNI. _Compendium Philosophiæ Scholasticæ._ 3 vols. Rome, 1912. LUANCO, J. RAMÓN DE. _Ramón Lull considerado come Alquimista._ Barcelona, 1870. LULL, BL. RAMÓN. _Opera omnia._ 10 vols. Mainz, 1721-42. MACKAY, CHARLES. _Memoirs of Extraordinary Popular Delusions._ 2 vols. London, 1852. (Must be used with caution, very frequently reprinted.) MADDEN, R. R. _Phantasmata._ 2 vols. 1857. MAIER, M. _Themis Aurea_ (on the Rosicrucians). Frankfurt, 1618. MAMOR, PIETRO. _Flagellum maleficorum._ _Circa_ 1462. MANGETUS. _Bibliotheca Chemico Curiosa._ 1702. MARÉCHAUX, O.S.B., BERNARD-MARIE. _La Réalité des Apparitions Angéliques._ Paris, 1901. MARCHESE. _Diario Domenicano._ Naples, 1668-81. MARTINDALE, C. C., S.J. _Antichrist._ C.T.S. (Do. 83). _Theosophy._ MAURITIUS, E. _De denunciatione sagarum._ Tubingen, 1664. MAYER, J. B. _Ancient Philosophy._ Cambridge, 1895. MAYO, HERBERT. _On the Truths contained in Popular Superstitions._ Edinburgh, 1851. MAZZARA. _Leggendario francescano._ Venice, 1721. MAZZELLA, HOR. _Prælectiones Scholastico-Dogmaticæ._ 4 vols. Rome. MAZZOLINI (MOZOLINI, PRIERIAS), O.P., SYLVESTER. _De strigimagorum libri III._ Rome, 1521. MECHLINIA, JOHANNES DE. _Utrum perfecta dei opera possint impediri dæmonis malicia._ _Circa_ 1450. MEMMINGIUS, NICOLAS. _Admonitio de superstitionibus magicis uitandis._ _s.l._ 1575. MENANT, JOACHIM. _Les Yezidiz. Episodes de l’histoire des adorateurs du Diable._ Paris, 1892. MENGO, GIROLAMO, CAPUCHIN. _Flagellum Dæmonum._ Bologna, 1578. _Euersio dæmonum e corporibus oppressis._ Bologna, 1588. _Fustis dæmonum._ Bologna, 1589. _Menologium Cisterciense._ MERCER, REV. J. E. _Alchemy: its Science and Romance._ MERIC, MGR. _L’Autre vie._ 13 ed. Paris, 1919. _L’Imagination et les Prodigues._ Paris, 1918. _Revue de Monde Invisible._ Edited by Mgr. Meric. 1909—in continuation. MICHELET, JULES. _La sorcière._ Paris, 1862. (This original edition is of the last rarity. Reprinted 1862.) MIRANDOLA, G. P. P. DELLA. _Strix siue de ludificatione dæmonum._ 1523. MOLITOR, ULRICH. _De lamiis et phitonicis mulieribus, teutonice unholden uel hexen._ 1489. MOREAU, PAUL. _Des Aberrations du Sens Génésique._ 4th ed. 1887. MOSHEIM, J. J. VON. _Institutes of Ecclesiasticæ History._ Eng. tr. 2nd ed. 1850. MURNER, O.M., THOMAS. _De phitonico contractu._ 1499. MURRAY, MARGARET ALICE. _The Witch-Cult in Western Europe._ Oxford, 1921. NAUDÉ, GABRIEL. _Apologie pour tous les grands hommes qui ont esté faussement soupconnez de magie._ Paris, 1625. NEALE, REV. JOHN MASON. _The Unseen World._ 1847. NEVIUS, REV. JOHN L. _Demon Possession and Allied Themes._ New York, 1893. NIDER, JOHAN, O.P. _Formicarius._ 5 vols. Douai, 1602. _Occult Review, The._ (In continuation.) PAPUS (pseud, of Gérard Encausse). _Absolute Key to Occult Science: The Tarot of the Bohemians._ Trans. by A. P. Morton. 1896. PARACELSUS (Aureolus Philippus, i.e. Theophrastus Bombast von Hohenheim). _Philosophy Reformed and Improved._ Made English by H. Pinnell. 2 vols. 1657. PARAMO, LUDOVICO À. _De origine et progressu officii Sanctæ Inquisitionis._ Madrid, 1598. PASCH, G. _De operationibus Dæmonum duo problemata curiosa utrum possint generare et utrum homines in bestias transformari._ 1684. —— PATRICIUS, FR. _Magia Philosophica._ Hamburg, 1593. PEEBLES, J. M. _The Demonism of the Ages._ Battle Creek, Mich., 1904. PEÑA, FRANCESCO. _Inquirendorum hæreticorum lucerna._ Rome, 1572. PERRY, W. J. _The Origin of Magic and Religion._ PEUCER, CASPAR. _Commentarius De Præcipuis Generibus Diuinationum._ Witenberga, 1560. PIGNATARO, F. S. J. _De Disciplina Pœnitentiali._ PONS, VINCENT. _De potentia Dæmonum._ Aquis Sextiis, 1613. PONZINIBIO, FRANCESCO. _De lamiis._ Apud _Thesaurus iurisconsultorum_. Venice, 1584. PRUMMER, O.P., DOMINIC. _Manuale Theologiæ Moralis secundum principia S. Thomæ Aquinatis._ 3 vols. Rome, 1915. PRYCE, F. N. _The Fame and Confession of the Fraternity of R. C., commonly of the Rosie Cross._ London, 1652. QUÉTIF-ECHARD. _Scriptores Ordinis Prædicatorum._ 2 vols. Paris, 1719. RAMUS, S.J., LE PÈRE MARIE. _La Dévotion à Sainte Anne._ Lyons, 1888. REDGROVE, H. STANLEY. _Alchemy, Ancient and Modern._ REGINO, ABBOT OF PRÜM. _Libri duo de synodalibus causis._ Migne. _Pat. Lat._ Vol. CXXXII. REMY, NICOLAS (Remigius). _Dæmonolatriæ libri tres._ Lyons, 1595. _Repertorium penitile de prauitate hæreticorum._ 1494. RÉVILLE, A. _The Devil._ London, 1871. RIBADENEIRA, S.J., PEDRO. _Uita Ignatii._ Naples, 1572. RIBET, M. J. _La Mystique Divine._ 4 vols. Paris, 1895. RICARDUS, ANGENTNUS. _De præstigiis et incantationibus dæmonum._ Basle, 1568. RICHALMUS, B. (Reichhelm). _Liber de Insidiis Dæmonum._ _Circa_ 1270. RÖMER, WILHELM. _Die Hexenbulle des Papster Innocenz VIII._ Schaffhausen, 1889. ROSKOFF, GUSTAV. _Geschichte des Teufels._ 2 vols. Leipzig, 1859. ROYAS, À J. _De Hæreticis._ Apud Zilettum, _q.u._ SABETTI, ALOYSIUS, S.J. _Compendium Theologiæ Moralis._ Ed. Uicesima Quinta. Recog. a Timotheo Barrett, S.J. 1916. (Tractatus VI. 2. _De Uitiis Religioni Oppositis._ 3. _De Diuinatione._ 4. _De Magia et maleficio._) SAINT-HEBIN, ALEXANDRE. _Du culte de Satan._ Paris, 1867. SBARALEA. _Bullarium Franciscanum._ 5 vols. Rome, 1759 sqq. SCHELTEMA, JACOBUS. _Geschiedenis der Heksenprocessen, eene bijdrage tot den roem des vaderlands._ Haarlem, 1828. SCHERARTZ, SIGISMUND. _Libellus de spectris._ Wittenberg, 1620. SCHMIDT. _Histoire et Doctrine de la secte des Cathares ou Albigeois._ Paris, 1849. SCHRAM, DOMINIC, O.S.B. _Institutiones Theologiæ Mysticæ._ 2 vols. Ausburg, 1774. (A most valuable work.) SCHWAB, J. B. _Jean Gerson._ Würzburg, 1858. SCOTUS, DUNS. _Opera omnia._ 12 vols. Ed. Wadding. Lyons, 1639. Reprint, 26 vols. (Vives) Paris, 1891-95. SIMANCAS. _De Catholicis Institutionibus._ Apud Zilettum, _q.u._ SINISTRARI, O.M., LUDOVICO MARIA. _Opera omnia._ Rome. 3 vols. 1753-4. _De Dæmonialitate._ First published by Liseux. Paris, 1875. Eng. tr. _Demonality, or Incubi and Succubi._ Paris, 1879. SOCINUS, MARIANUS. _De sortilegiis._ _Circa_ 1465. SOLE, JACOBUS. _De Delictis et Pœnis._ Rome, 1920. SPEE, S.J., FREDERICK. _Cautio criminalis._ 1631. Cologne, 1632. SPENCE, LEWIS. _An Encyclopedia of Occultism: a Compendium of Information on the Occult Sciences, Occult Personalities, Psychic Sciences, Magic, Demonology, Spiritism, and Mysticism._ London, 1920. _Spicilegium dæmonolatriæ._ _Circa_ 1330. SPINA, BARTOLOMEO, O.P. _Tractatus de Strigibus et Lamiis._ Venice, 1523. SPRENGER, O.P., JAMES and KRAMER (Institor), HEINRICH. (_Editio princeps_) _Malleus Maleficarum_. Nuremburg, 1494 and 1496. Cologne, 1489 and 1494. Frankfort, 1582. Cologne, 1511 and 1520. Lyons, 1595 and (a fuller edition) 1620. (There are several other issues.) Of this authoritative work I have used the Lyons edition. _Sumptibus Claudii Bovrgeat._ 4 vols. 1669, which contains the following valuable collections:— Vol. I. NIDER, O.P., JOHN. _Formicarius de maleficiis._ SPRENGER and KRAMER. _Malleus Maleficarum._ Vol. II. ANANIA, GIOVANNI LORENZO. _De Natura Dæmonum._ BASIN, BERNARD. _De Artibus magicis._ BERNARD OF COMO, O.P. _De Strigibus._ (With the annotations of Francesco Peña.) CASTRO, O.M., ALFONSO À. _De impia Sortilegarum hæresi._ DE VIGNATE, AMBROSE. _Quæstio de Lamiis._ (With a commentary by Peña.) GERSON, JOHN. _De Probatione Spirituum. De erroribus circa artem magicam reprobatis._ GRILLAND, PAUL. _De Sortilegiis._ LEONE, GIOVANNI FRANCESCO. _De Sortilegiis._ MOLITOR, ULRICH. _De Pythonicis mulieribus._ MURNER, O.M., THOMAS. _De Pythonico Contractu._ SIMANCAS, IAGO. _De Lamiis._ SPINA, O.P., BARTOLOMEO. _De Strigibus._ _In Ponzinibium de Lamiis Apolegia._ Vol. III GORICHEN, HEINRICH DE. _De superstitioris quibusdam casibus._ MAMOR, PIETRO. _Flagellum maleficorum._ MENGO, GIROLAMO, CAPUCHIN. _Flagellum Dæmonum._ _Fustis Dæmonum._ STAMPA, PIETRO ANTONIO. _Fuga Satanæ._ Vol. IV. _Ars exorcistica tribus partibus._ (It is hardly possible to overestimate the value of this collection.) STEAD, W. T. _Real Ghost Stories._ Reprinted from “The Review of Reviews,” 1891-2. London, 1897. STEINER, RUDOLF. _Les Mystères antiques et le Mystère chrétien._ Paris, 1920. STENGESIUS, G. _De Monstris et Monstrosis._ 1647 (?). STRIDTHECKH, CHRISTIAN. _De Sagis, siue Fœminis, commercium cum Malo Spiritu habentibus._ Leipzig, 1691. SUTTER, PAUL ABBÉ. _Lucifer._ Tr. by the Rev. Theophilus Borer. London, 1922. TAGEREAU, VINCENT. _Discours sur l’impuissance de l’homme et de la femme._ Paris, 1612. TAILLEPIED, FRÈRE NOEL. _Psichologie, ou traité de l’apparition des Esprits._ Paris, 1588; and many other eds. TARREGA, RAIMUNDUS. _De inuocatione dæmonum._ _Circa_ 1370. TARTAROTTI, GIROLAMO. _Del Congresso Notturno delle Lammie._ Rovereto, 1749. TAXIL, JEAN. _Traicté de l’Epilepsie._ Lyons, 1602. C. XVII (pp. 150-162) treats of demoniacs, sorcerers, and possession. THEATINUS, JOHANN BAPISTA. _Aduersus artem magicam et striges._ _Circa_ 1510. _Theatrum Diabolorum._ 1587. S. THOMAS AQUINAS. _Opera omnia iussu edita Leonis XIII., P.M._ The Leonine edition. THUMMIUS, THEODORE. _De Sagarum impictate._ Tubingen, 2nd ed., 1666. TINCTOR, JOHANNES. _Sermo de secta Uaudensium._ 1460. TOMASETTI. Ed. _Bullarium ... Romanorum Pontificum._ 22 vols. Turin, 1857, etc.; and Naples, 1867-85. 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WALSH. _Examination of John Walsh._ London, 1566. WHITAKER, T. D. _History of Whalley._ London, 1818. WILKINS, DAVID. _Concilia Magnæ Britanniæ._ London, 1737. WILSON, ARTHUR. _Life and Reign of James I._ London, 1653. _Witchcraft, Collection of rare and curious tracts on._ Edinburgh, 1891. _Witchcraft, Collections of rare and curious Tracts relating to._ London, 1838. _Witchcraft Detected._ 1826. ZIMMERMAN, G. _De Mutata Saxonum veterum religione._ 1839. ENGLAND: THE PAMPHLET LITERATURE (Arranged in chronological order) _The Examination and confession of certaine Wytches at Chensforde in the Countie of Essex before the Quenes maiesties Judges, the XXVI daye of July Anno 1566._ _A Rehearsall both straung and true of hainous and horrible actes committed by Elizabeth Stile, alias Rockingham, Mother Dutten, Mother Devell, Mother Margaret. Fower notorious Witches apprehended at Winsore in the Countie of Barks, and at Abington arraigned, condemned and executed on the 28 daye of Februarie last anno 1579._ _A Detection of damnable driftes, practised by three Witches arraigned at Chelmsforde in Essex ... whiche were executed in Aprill 1579._ 1579. _The apprehension and confession of three notorious Witches arraigned and by Justice condemnede in the Countye of Essex the 5 day of Julye last past._ 1589. _A True and just Recorde of the Information, Examination and Confessions of all the Witches taken at St. Oses in the countie of Essex: wherefore some were executed, and other some entreated accordingly to the determination of Lawe.... Written orderly, as the cases were tryed by evidence, by W. W._ 1582. _The most strange and admirable discoverie of the three Witches of Warboys, arraigned, convicted and executed at the last assizes at Huntingdon._ London, 1593. (This was one of the most famous cases of English Witchcraft. A whole literature grew up in connexion therewith. In _Notes and Queries_, Twelfth Series, I, 1916, p. 283 and p. 304, will be found: “The Witches of Warboys: Bibliographical Note,” where twenty-eight entries are made.) _The most wonderfull and true storie of a certaine Witch named Alse Gooderidge of Stapenhill, who was arraigned and convicted at Darbie.... As also a true Report of the strange Torments of Thomas Darling, a boy of thirteen years of age, that was possessed by the Devill, with his horrible Fittes and terrible apparitions by him uttered at Burton upon Trent, in the county of Stafford, and of his marvellous deliverance._ London, 1597. [By John Denison.] _The Arraignment and Execution of 3 detestable Witches, John Newell, Joane his wife, and Hellen Calles; two executed at Barnett, and one at Braynford, 1 Dec. 1595._ _The severall Facts of Witchcrafte approved on Margaret Haskett of Stanmore, 1585._ Black letter. _An Account of Margaret Hacket, a notorious Witch, who consumed a young Man to Death, rotted his Bowells and back bone asunder, who was executed at Tiborn, 19 Feb. 1585._ London, 1585. _The Examination and Confession of a notorious Witch named Mother Arnold, alias Whitecote, alias Glastonbury, at the Assise of Burntwood in July, 1574: who was hanged for Witchcraft at Barking._ 1575. (The four preceding pamphlets although referred to by Lowndes and other bibliographers apparently have not been traced.) _A true report of three Straunge Witches, lately found at Newnham Regis._ (Not traced. Hazlitt, _Handbook_, p. 231.) _A short treatise declaringe the detestable wickednesse of magicall sciences, as Necromancie, Coniuration of Spirites, Curiouse Astrologie and such lyke.... Made by Francis Coxe._ [London, 1561.] Black letter. _The Examination of John Walsh, before Master Thomas Williams, Commissary to the Reverend father in God, William, bishop of Excester, upon certayne Interrogatories touchyng Wytch-crafte and Sorcerye, in the presence of divers gentlemen and others, the XX of August, 1566._ 1566. Black letter. _The discloysing of a late counterfeyted possession by the devyl in two maydens within the Citie of London._ [1574.] Black letter. _The Wonderfull Worke of God shewed upon a Chylde, whose name is William Withers, being in the Towne of Walsam ... Suffolk, who, being Eleven Yeeres of age, laye in a Traunce the Space of tenne Days ... and hath continued the Space of Three Weeks._ London, 1581. _A Most Wicked worke of a Wretched Witch (the like whereof none can record these manie yeares in England) wrought on the Person of one Richard Burt, servant to Maister Edling of Woodhall in the Parrish of Pinner in the Countie of Myddlesex, a myle beyond Harrow. Latelie committed in March last, An. 1592 and newly recognized acording to the truth. By G. B. maister of Artes._ [London, 1593.] _A defensative against the poyson of supposed prophecies, not hitherto confuted by the penne of any man; which being eyther uppon the warrant and authority of old paynted bookes, expositions of dreames, oracles, revelations, invocations of damned spirits ... have been causes of great disorder in the commonwealth and chiefly among the simple and unlearned people._ _Circa_ 1581-3. _The scratchinge of the wytches._ 1579. _A warnynge to wytches._ 1585. _A lamentable songe of Three Wytches of Warbos, and executed at Huntingdon._ 1593. (The three preceding are ballads. See Hazlitt, _Bibliographical Collections and Notes_, 2nd Series. London, 1882.) _A poosye in forme of a visyon, agaynste wytche Crafte, and Sosyrye._ _A Breife Narration of the possession, dispossession, and repossession of William Sommers.... Together with certaine depositions taken at Nottingham._ 1598. _An Apologie, or defence of the possession of William Sommers, a yong man of the towne of Nottingham.... By John Darrell, Minister of Christ Jesus._ [1599?] Black letter. _The Triall of Maist. Dorrel, or A Collection of Defences against Allegations...._ 1599. (Apparently written by Darrel himself; but the Huth catalogue (V. 1643) ascribes it to James Bamford.) _A brief Apologie proving the possession of William Sommers. Written by John Dorrel, a faithful Minister of the Gospell, but published without his knowledge...._ 1599. _A Discovery of the Fraudulent Practises of John Darrel, Bacheler of Artes...._ London, 1599. (By Samuel Harsnett.) _A True Narration of the strange and grevous Vexation by the Devil of seven persons in Lancashire...._ 1600. Written by Darrel. (Reprinted in 1641, and again in the _Somers Tracts_, III.) _A True Discourse concerning the certaine possession and dispossession of 7 persons in one familie in Lancashire, which also may serve as part of an Answere to a fayned and false Discoverie.... By George More, Minister and Preacher of the Worde of God...._ 1600. _A Detection of that sinnful, shamful, lying, and ridiculous discours of Samuel Harshnet._ 1600. (By Darrel in answer to Harsnett.) _A Summarie Answere to al the Material Points in any of Master Darel his bookes, More especiallie to that one Booke of his, intituled, the Doctrine of the Possession and Dispossession of Demoniaks out of the word of God. By John Deacon [and] John Walker, Preachers._ London, 1601. _A Survey of Certaine Dialogical Discourses, written by John Deacon and John Walker.... By John Darrell, minister of the gospel...._ 1602. _The Replie of John Darrell, to the Answer of John Deacon, and John Walker concerning the doctrine of the Possession and Dispossession of Demoniakes...._ 1602. _A True and Breife Report of Mary Glover’s Vexation, and of her deliverance by the meanes of fastinge and prayer.... By John Swan, student in Divinitie...._ 1603. Elizabeth Jackson was indicted on the charge of having bewitched Mary Glover, but Dr. Edward Jorden, who examined the girl declared her an hysterical impostor in his pamphlet. _A briefe discourse of a disease called the Suffocation of the Mother, Written uppon occasion which hath beene of late taken thereby, to suspect possession of an evill spirit...._ London, 1603. _A history of the case of Catherine Wright._ _The strange Newes out of Sommersetshire, Anno 1584, tearmed, a dreadfull discourse of the dispossessing of one Maggaret Cooper at Ditchet, from a devill in the likenes of a headlesse beare. Discovery of the Fraudulent Practices of John Darrel._ 1584. _The Most Cruell and Bloody Murther committed by an Inn-keepers Wife called Annis Dell, and her Sonne George Dell, Foure Years since.... With the severall Witch-crafts and most damnable practices of one Iohane Harrison and her Daughter, upon several persons men and women at Royston, who were all executed at Hartford the 4 of August last past 1606._ London, 1606. _The Witches of Northamptonshire._ _Agnes Browne_ _Arthur Bill_ _Joane Vaughan_ _Hellen Jenkenson_ _Mary Barber_ _Witches_ _Who were all executed at Northampton the 22 of July last. 1612._ 1612. _The severall notorious and lewd Cosenages of Iohn West and Alice West, falsely called the King and Queene of Fayries ... convicted.... 1613._ London, 1613. _The Wonderfull Discoverie of Witches in the countie of Lancaster. With the Arraignment and Triall of Nineteene notorious Witches, at the Assizes and Gaole deliverie, holden at the Castle of Lancaster, upon Munday, the seventeenth of August last, 1612. Before Sir James Altham, and Sir Edward Bromley._ London, 1613. (Reprinted by the Chetham Society, edited James Crossley. 1845. One of the most famous of the witch-trials.) _Witches Apprehended, Examined and Executed, for notable villanies by them committed both by Land and Water. With a strange and most true trial how to know whether a woman be a Witch or not._ London, 1613. _A Booke of the Wytches Lately condemned and executed at Bedford, 1612-1613._ _A Treatise of Witchcraft.... With a true Narration of the Witchcrafts which Mary Smith, wife of Henry Smith, Glover, did practise ... and lastly, of her death and execution.... By Alexander Roberts, B.D. and Preacher of Gods Word at Kings-Linne in Norffolke._ London, 1616. _The Wonderful Discoverie of the Witchcrafts of Margaret and Phillip Flower, daughters of Joan Flower neere Bever Castle: executed at Lincolne, March 11, 1618. Who were specially arraigned and condemned ... for confessing themselves actors in the destruction of Henry, Lord Rosse, with their damnable practises against others the Children of the Right Honourable Francis Earle of Rutland. Together with the severall Examinations and Confessions of Anne Baker, Joan Willimot, and Ellen Greene, Witches of Leicestershire._ London, 1619. _Strange and wonderfull Witchcrafts, discovering the damnable Practises of seven Witches against the Lives of certain noble Personages and others of this Kingdom; with an approved Triall how to find out either Witch or any Apprentise to Witchcraft._ 1621. Another edition in 1635. _The Wonderfull discoverie of Elizabeth Sawyer ... late of Edmonton, her conviction, condemnation and Death.... Written by Henry Goodcole, Minister of the word of God, and her continuall Visiter in the Gaole of Newgate...._ 1621. (Reprinted in Vol. I (lxxxi-cvii) of Bullen’s recension of the Dyce-Gifford Ford. 3 vols. London, 1895.) _The Boy of Bilson: or A True Discovery of the Late Notorious Impostures of Certaine Romish Priests in their pretended Exorcisme, or expulsion of the Divell out of a young Boy, named William Perry...._ London, 1622. _A Discourse of Witchcraft As it was acted in the Family of Mr. Edward Fairfax of Fuystone in the County of York, in the year 1621._ Edited by R. Monckton Milnes (Lord Houghton) for Vol. V of _Miscellanies of the Philobiblon Soc._ London, 1858-1859. (The editor says the original MS. is still in existence.) _A Most certain, strange and true Discovery of a Witch, Being overtaken by some of the Parliament Forces, as she was standing on a small Planck-board and sayling on it over the River of Newbury, Together with the strange and true manner of her death._ 1643. _A Confirmation and Discovery of Witch-craft ... together with the Confessions of many of those executed since May, 1645.... By John Stearne._ _The Examination, Confession, Triall, and Execution of Joane Williford, Joan Cariden and Jane Hott: who were executed at Faversham, in Kent ... all attested under the hand of Robert Greenstreet, Maior of Faversham._ _A true and exact Relation of the severall Informations, Examinations, and Confessions of the late Witches arraigned ... and condemned at the late Sessions, holden at Chelmsford before the Right Honorable Robert, Earle of Warwicke, and severall of his Majesties Justices of Peace, the 29 of July, 1645._ _A True Relation of the Arraignment of eighteene Witches at St. Edmundsbury, 27th August, 1645.... As Also a List of the names of those that were executed._ _Strange and fearfull newes from Plaisto in the parish of Westham neere Bow foure miles from London._ London, 1645. _The Lawes against Witches and Conjuration, and Some brief Notes and Observations for the Discovery of Witches. Being very Usefull for these Times wherein the Devil reignes and prevailes.... Also The Confession of Mother Lakeland, who was arraigned and condemned for a Witch at Ipswich in Suffolke.... By Authority._ London, 1645. _Signes and Wonders from Heaven.... Likewise a new discovery of Witches in Stepney Parish. And how 20. Witches more were executed in Suffolk this last Assize. Also how the Divell came to Sofforn to a Farmer’s house in the habit of a Gentlewoman on horse backe._ London [1645]. _Relation of a boy who was entertained by the Devil to be Servant to him ... about Credition in the West, and how the Devil carried him up in the aire, and showed him the torments of Hell, and some of the Cavaliers there, etc., with a coppie of a Letter from Maior Generall Massie, concerning these strange and Wonderfull things, with a certaine box of Reliques and Crucifixes found in Tiverton Church._ 1645. (A ridiculous, but not uninteresting, publication.) _The Witches of Huntingdon, their Examinations and Confessions...._ London, 1646. (The Dedication is signed by John Davenport.) _The Discovery of Witches: in answer to severall Queries, lately Delivered to the Judges of Assize for the County of Norfolk. And now published by Matthew Hopkins, Witchfinder. For the Benefit of the Whole Kingdome...._ London, 1647. (The most famous of the “Hopkins series.”) _A strange and true Relation of a Young Woman possest with the Devill. By name Joyce Dovey dwelling at Bewdley neer Worcester.... Also a Letter from Cambridge, wherein is related the late conference between the Devil (in the shape of a Mr. of Arts) and one Ashbourner, a Scholler of S. Johns Colledge ... who was afterwards carried away by him and never heard of since onely his Gown found in the River._ London, 1647. _The Full Tryals, Examination and Condemnation of Four Notorious Witches, At the Assizes held in Worcester on Tuseday the 4th of March.... As also Their Confessions and last Dying Speeches at the place of Execution, with other Amazing Particulars...._ London, no date. _The Divels Delusions or A faithfull relation of John Palmer and Elizabeth Knot two notorious Witches lately condemned at the Sessions of Oyer and Terminer in St. Albans._ 1649. _Wonderfull News from the North, Or a True Relation of the Sad and Grievous Torments Inflicted upon the Bodies of three Children of Mr. George Muschamp, late of the County of Northumberland, by Witchcraft.... As also the prosecution of the sayd Witches, as by Oaths, and their own Confessions will appear and by the Indictment found by the Jury against one of them, at the Sessions of the Peace held at Alnwick, the 24 day of April, 1650._ London, 1650. _The strange Witch at Greenwich haunting a Wench, 1650._ _A Strange Witch at Greenwich, 1650._ _The Witch of Wapping, or an Exact and Perfect Relation of the Life and Devilish Practises of Joan Peterson, who dwelt in Spruce Island, near Wapping; Who was condemned for practising Witchcraft, and sentenced to be Hanged at Tyburn, on Munday the 11th of April, 1652._ London, 1652. _A Declaration in Answer to several lying Pamphlets concerning the Witch of Wapping, ... shewing the Bloudy Plot and wicked Conspiracy of one Abraham Vandenhemde, Thomas Crompton, Thomas Collet, and others._ London, 1652. _The Tryall and Examinations of Mrs. Joan Peterson before the Honourable Bench at the Sessions house in the Old Bayley yesterday._ [1652.] _Doctor Lamb’s Darling, or Strange and terrible News from Salisbury; Being A true, exact, and perfect Relation of the great and wonderful Contract and Engagement made between the Devil, and Mistris Anne Bodenham; with the manner how she could transform herself into the shape of a Mastive Dog, a black Lyon, a white Bear, a Woolf, a Bull, and a Cat.... The Tryal, Examinations, and Confession ... before the Lord Chief Baron Wild.... By James [Edmond?] Bower, Cleric._ London, 1653. _Doctor Lamb Revived, or, Witchcraft condemn’d in Anne Bodenham ... who was Arraigned and Executed the Lent Assizes last at Salisbury, before the Right Honourable the Lord Chief Baron Wild, Judge of the Assize.... By Edmund Bower, an eye and ear Witness of her Examination and Confession._ London, 1653. (Bower’s second and more detailed account.) _A Prodigious and Tragicall History of the Arraignment, Tryall, Confession, and Condemnation of six Witches at Maidstone, in Kent, at the Assizes there held in July, Fryday 30, this present year, 1652. Before the Right Honorable, Peter Warburton.... Collected from the Observations of E. G. Gent, a learned person, present at their Convictions and Condemnation._ London, 1652. _The most true and wonderfull Narration of two women bewitched in Yorkshire: Who comming to the Assizes at York to give Evidence against the Witch after a most horrible noise to the terror and amazement of all the beholders, did vomit forth before the Judges, Pins, wool.... Also a most true Relation of a young Maid ... who ... did ... vomit forth wadds of straw, with pins a crosse in them, iron Nails, Needles, ... as it is attested under the hand of that most famous Phisition Doctor Henry Heers...._ 1658. _A more Exact Relation of the most lamentable and horrid Contract with Lydia Rogers, living in Pump-Alley in Wapping, made with the Divel.... Together with the great pains and prayers of many eminent Divines...._ 1658. _The Snare of the Devill Discovered: Or, A True and perfect Relation of the sad and deplorable Condition of Lydia the Wife of John Rogers House Carpenter, living in Greenbank in Pumpe alley in Wappin.... Also her Examination by Mr. Johnson the Minister of Wappin, and her Confession. As also in what a sad Condition she continues...._ London, 1658. _Strange and Terrible Newes from Cambridge, being A true Relation of the Quakers bewitching of Mary Philips ... into the shape of a Bay Mare, riding her from Dinton towards the University. With the manner how she became visible again ... in her own Likeness and Shape, with her sides all rent and torn, as if they had been spur-galled, ... and the Names of the Quakers brought to tryal on Friday last at the Assizes held at Cambridge...._ London, 1659. _The Power of Witchcraft, Being a most strange but true Relation of the most miraculous and wonderful deliverance of one Mr. William Harrison of Cambden in the County of Gloucester, Steward to the Lady Nowel...._ London, 1662. _A True and Perfect Account of the Examination, Confession, Tryal, Condemnation and Execution of Joan Perry and her two Sons ... for the supposed murder of William Harrison, Gent...._ London, 1676. _A Tryal of Witches at the assizes held at Bury St. Edmonds for the County of Suffolk; on the tenth day of March, 1664._ London, 1682; and 1716. _The Lord’s Arm Stratched Out in an Answer of Prayer or a True Relation o; the Wonderful Deliverance of James Barrow, the Son of John Barrow of Olaves Southwark, London, 1664._ (A Baptist tract.) _The wonder of Suffolke, being a true relation of one that reports he made a league with the Devil for three years, to do mischief, and now breaks open houses, robs people daily ... and can neither be shot nor taken, but leaps over walls fifteen feet high, runs five or six miles in a quarter of an hour, and sometimes vanishes in the midst of multitudes that go to take him. Faithfully written in a letter from a solemn person, dated not long since, to a friend in Ship-Yard near Temple-bar, and ready to be attested by hundreds...._ London, 1677. _Daimonomageia: a small Treatise of Sicknesses and Diseases from Witchcraft and Supernatural Causes.... Being useful to others besides Physicians, in that it confutes Atheistical, Sadducistical, and Sceptical Principles and Imaginations...._ London, 1665. _Hartford-shire Wonder. Or, Strange News from Ware, Being an Exact and true Relation of one Jane Stretton ... who hath been visited in a strange kind of manner by extraordinary and unusual fits...._ London, 1669. _A Magicall Vision, Or a Perfect Discovery of the Fallacies of Witchcraft, As it was lately represented in a pleasant sweet Dream to a Holysweet Sister, a faithful and pretious Assertor of the Family of the Stand-Hups, for preservation of the Saints from being tainted with the heresies of the Congregation of the Doe-Littles._ London, 1673. (Hazlitt, _Bibliographical Collections_, fourth series, _s. u._ Witchcraft.) _A Full and True Relation of The Tryal, Condemnation, and Execution of Ann Foster ... at the place of Execution at Northampton. With the Manner how she by her Malice and Witchcraft set all the Barns and Corn on Fire ... and bewitched a whole Flock of Sheep...._ London, 1674. _Strange News from Arpington near Bexby in Kent: Being a True Narrative of a yong Maid who was Possest with several Devils...._ London, 1679. _Strange and Wonderful News from Yowell in Surry; Giving a True and Just Account of One Elizabeth Burgess, Who was most strangely Bewitched and Tortured at a sad rate._ London, 1681. _An Account of the Tryal and Examination of Joan Buts, for being a Common Witch and Inchantress, before the Right Honourable Sir Francis Pemberton, Lord Chief Justice, at the Assizes...._ 1682. Single leaf. _The Tryal, Condemnation, and Execution of Three Witches, viz., Temperance Floyd, Mary Floyd, and Susanna Edwards. Who were Arraigned at Exeter on the 18th of August, 1682._ London, 1682. _A True and Impartial Relation of the Informations against Three Witches, viz., Temperance Lloyd, Mary Trembles, and Susanna Edwards, who were ... Convicted at the Assizes holden ... at ... Exon, Aug. 14, 1682. With their several Confessions ... as also Their ... Behaviour, at the ... Execution on the Twenty fifth of the said Month._ London, 1682. _Witchcraft discovered and punished Or the Tryals and Condemnation of three Notorious Witches, who were Tryed the last Assizes, holden at the Castle of Exeter ... where they received sentence of Death, for bewitching severall Persons, destroying Ships at Sea, and Cattel by Land. To the Tune of Doctor Faustus; or Fortune my Foe._ (A ballad. Roxburghe Collection. Broadside.) _The Life and Conversation of Temperance Floyd, Mary Lloyd and Susanna Edwards ...; Lately Condemned at Exeter Assizes; together with a full Account of their first Agreement with the Devil: With the manner how they prosecuted their devilish Sorceries...._ London, 1687. _A Full and True Account of the Proceedings at the Sessions of Oyer and Terminer ... which began at the Sessions House in the Old Bayley on Thursday, June 1st, and Ended on Fryday, June 2nd, 1682. Wherein is Contained the Tryall of Jane Kent for Witchcraft._ _Strange and Dreadful News from the Town of Deptford in the County of Kent, Being a Full, True, and Sad Relation of one Anne Arthur._ 1684-5. One leaf, folio. _Strange newes from Shadwell, being a ... relation of the death of Alice Fowler, who had for many years been accounted a witch._ London, 1685. _A True Account of a Strange and Wonderful Relation of one John Tonken, of Pensans in Cornwall, said to be Bewitched by some Women: two of which on Suspition are committed to Prison._ London, 1686. _News from Panier Alley; or a True Relation of Some Pranks the Devil hath lately play’d with a Plaster Pot there._ London, 1687. _A faithful narrative of the ... fits which ... Thomas Spatchet ... was under by witchcraft...._ 1693. _The Second Part of the Boy of Bilson, Or a True and Particular Relation of the Imposter Susanna Fowles, wife of John Fowles of Hammersmith in the Co. of Midd., who pretended herself to be possessed._ London, 1698. _A Full and True Account Both of the Life: And also the Manner and Method of carrying on the Delusions, Blasphemies, and Notorious Cheats of Susan Fowls, as the same was Contrived, Plotted, Invented, and Managed by wicked Popish Priests and other Papists._ _The trial of Susannah Fowles, of Hammersmith, for blaspheming Jesus Christ, and cursing the Lord’s Prayer...._ London, 1698. _The Case of Witchcraft at Coggeshall, Essex, in the year 1699. Being the Narrative of the Rev. J. Boys, Minister of the Parish._ Printed from his manuscript in the possession of the publisher (A. Russell Smith). London, 1901. _A True and Impartial Account of the Dark and Hellish Power of Witchcraft, Lately Exercised on the Body of the Reverend Mr. Wood, Minister of Bodmyn. In a Letter from a Gentleman there, to his Friend in Exon, in Confirmation thereof._ Exeter, 1700. _A Full and True Account of the Apprehending and Taking of Mrs. Sarah Moordike, Who is accused for a Witch, Being taken near Pauls’ Wharf ... for having Bewitched one Richard Hetheway.... With her Examination before the Right Worshipful Sir Thomas Lane, Sir Oven Buckingham, and Dr. Hambleton in Bowe-lane._ 1701. _A short Account of the Trial held at Surry Assizes, in the Borough of Southwark; on an Information against Richard Hathway ... for Riot and Assault._ London, 1702. _The Tryall of Richard Hathaway, upon an Information For being a Cheat and Imposter. For endeavouring to take away the Life of Sarah Morduck, For being a Witch at Surry Assizes...._ London, 1702. _A Full and True Account of the Discovery, Apprehending, and taking of a Notorious Witch, who was carried before Justice Bateman in Well-Close on Sunday, July the 23. Together with her Examination and Commitment to Bridewel, Clerkenwell._ London, 1704. _An Account of the Tryals, Examination, and Condemnation of Elinor Shaw and Mary Phillips...._ 1705. _The Northamptonshire Witches...._ 1705. _The Devil Turned Casuist, or the Cheats of Rome Laid open in the Exorcism of a Despairing Devil at the House of Thomas Bennington in Oriel.... By Zachary Taylor, M.A., Chaplain to the Right reverend Father in God, Nicholas, Lord Bishop of Chester, and Rector of Wigan._ London, 1696. _The Surey Demoniack, Or an Account of Satan’s Strange and Dreadful Actings, In and about the Body of Richard Dugdale of Surey, near Whalley in Lancashire. And How he was Dispossest by Gods blessing on the Fastings and Prayers of divers Ministers and People._ London, 1697. _The Surey Imposter, being an answer to a late Fanatical Pamphlet, entituled The Surey Demoniack._ By Zachary Taylor. London, 1697. _A Vindication of the Surey Demoniack as no Imposter: Or, A Reply to a certain Pamphlet publish’d by Mr. Zach. Taylor, called The Surey Imposter...._ By T. J., London, 1698. _Popery, Supersitition, Ignorance and Knavery very unjustly by a letter in the general pretended; but as far as was charg’d very fully proved upon the Dissenters that were concerned in the Surey Imposture._ 1698. Written by Zachary Taylor. _The Lancashire Levite Rebuked, or a Vindication of the Dissenters from Popery, Superstition, Ignorance, and Knavery, unjustly Charged on them by Mr. Zachary Taylor...._ London, 1698. _The Lancashire Levite Rebuked, or a Farther Vindication._ 1698. _Popery, Superstition, Ignorance, and Knavery, Confess’d and fully Proved on the Surey Dissenters, from a Second Letter of an Apostate Friend, to Zach. Taylor. To which is added a Refutation of T. Jollie’s Vindication...._ London, 1699. Written by Zachary Taylor. _A Refutation of Mr. T. Jolly’s Vindication of the Devil in Dugdale; Or, The Surey Demoniack._ London, 1699. _The Portsmouth Ghost, or A Full and true Account of a Strange, wonderful, and dreadful Appearing of the Ghost of Madam Johnson, a beautiful young Lady of Portsmouth, Shewing, 1. Her falling in Love with Mr. John Hunt, a Captain in one of the Regiments sent to Spain. 2. Of his promising her Marriage, and leaving her big With Child. 3. Of her selling herself to the Devil to be revenged on the Captain. 4. Of her ripping open her own Belly, and the Devil’s flying away with her Body, and leaving the Child in the room.... 7. Of her Carrying [the Captain] away in the night in a flame of fire._ Printed and sold by Cluer Dicey and Co. in Aldermary Church Yard, Bow Lane. _Circa_ 1704. _A Looking Glass for Swearers, Drunkards, Blasphemers, Sabbath Breakers, Rash Wishers, and Murderers. Being a True Relation of one Elizabeth Hale, in Scotch Yard in White Cross Street; who having sold herself to the Devil to be reveng’d on her Neighbours, did on Sunday last, in a wicked manner, put a quantity of Poyson into a Pot where a Piece of Beef was a boyling for several Poor Women and Children, Two of which dropt down dead, and Twelve more are dangerously Ill; the Truth of which will be Attested by several in the Neighbourhood. Her Examination upon the Crowners Inquest and her Commitment to Newgate._ Printed by W. Wise and