Witch, Warlock, and Magician

To tell by hydromancy, ebbs and tides;

By aeromancy to discover doubts, —

To plain out questions, as Apollo did.

Bacon. Well, Master Burden, what of all this?

Miles. Marry, sir, he doth but fulfil, by rehearsing of these names, the fable of the ‘Fox and the Grapes’: that which is above us pertains nothing to us.

Burd. I tell thee, Bacon, Oxford makes report,

Nay, England, and the Court of Henry says

Thou’rt making of a Brazen Head by art,

Which shall unfold strange doubts and aphorisms,

And read a lecture in philosophy:

And, by the help of devils and ghastly fiends,

Thou mean’st, ere many years or days be past,

To compass England with a wall of brass.

Bacon. And what of this?

Miles. What of this, master! why, he doth speak mystically; for he knows, if your skill fail to make a Brazen Head, yet Master Waters’ strong ale will fit his time to make him have a copper nose…

Bacon. Seeing you come as friends unto the friar,

Resolve you, doctors, Bacon can by books

Make storming Boreas thunder from his cave,

And dim fair Luna to a dark eclipse.

The great arch-ruler, potentate of hell,

Tumbles when Bacon bids him, or his fiends

Bow to the force of his pentageron.[8 - The pentageron, or pentagramma, is a mystic figure produced by prolonging the sides of a regular pentagon till they intersect one another. It can be drawn without a break in the drawing, and, viewed from five sides, exhibits the form of the letter A (pent-alpha), or the figure of the fifth proposition in Euclid’s First Book.] …

I have contrived and framed a head of brass

(I made Belcephon hammer out the stuff),

And that by art shall read philosophy:

And I will strengthen England by my skill,

That if ten Cæsars lived and reigned in Rome,

With all the legions Europe doth contain,

They should not touch a grass of English ground:

The work that Ninus reared at Babylon,

The brazen walls framed by Semiramis,

Carved out like to the portal of the sun,

Shall not be such as rings the English strand

From Dover to the market-place of Rye.

In this patriotic resolution of the potent friar the reader will trace the influence of the national enthusiasm awakened, only a few years before Greene’s comedy was written and produced, by the menace of the Spanish Armada.

It is unnecessary to quote the remainder of this scene, in which Bacon proves his magical skill at the expense of the jealous Burden. Scene III. passes at Harleston Fair, and introduces Lacy, Earl of Lincoln, disguised as a rustic, and the comely Margaret. In Scene IV., at Hampton Court, Henry III. receives Elinor of Castile, who is betrothed to his son, Prince Edward, and arranges with her father, the Emperor, a competition between the great German magician, Jaques Vandermast, and Friar Bacon, ‘England’s only flower.’ In Scene V. we pass on to Oxford, where some comic incidents occur between Prince Edward (in disguise) and his courtiers; and in Scene VI. to Friar Bacon’s cell, where the friar shows the Prince in his ‘glass prospective,’ or magic mirror, the figures of Margaret, Friar Bungay, and Earl Lacy, and reveals the progress of Lacy’s suit to the rustic beauty. Bacon summons Bungay to Oxford – straddling on a devil’s back – and the scene then changes to the Regent-house, and degenerates into the rudest farce. At Fressingfield, in Scene VIII., we find Prince Edward threatening to slay Earl Lacy unless he gives up to him the Fair Maid of Fressingfield; but, after a struggle, his better nature prevails, and he retires from his suit, leaving Margaret to become the Countess of Lincoln. Scene IX. carries us back to Oxford, where Henry III., the Emperor, and a goodly company have assembled to witness the trial of skill between the English and the German magicians – the first international competition on record! – in which, of course, Vandermast is put to ridicule.

Passing over Scene X. as unimportant, we return, in Scene XI., to Bacon’s cell, where the great magician is lying on his bed, with a white wand in one hand, a book in the other, and beside him a lighted lamp. The Brazen Head is there, with Miles, armed, keeping watch over it. Here the dramatist closely follows the old story. The friar falls asleep; the head speaks once and twice, and Miles fails to wake his master. It speaks the third time. ‘A lightning flashes forth, and a hand appears that breaks down the head with a hammer.’ Bacon awakes to lament over the ruin of his work, and load the careless Miles with unavailing reproaches. But the whole scene is characteristic enough to merit transcription:

Scene XI. —Friar Bacon’s Cell

Friar Bacon is discovered lying on a bed, with a white stick in one hand, a book in the other, and a lamp lighted beside him; and the Brazen Head, and Miles with weapons by him.

Bacon. Miles, where are you?

Miles. Here, sir.

Bacon. How chance you tarry so long?

Miles. Think you that the watching of the Brazen Head craves no furniture? I warrant you, sir, I have so armed myself that if all your devils come, I will not fear them an inch.

Bacon. Miles,

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 kneelèd at my cell;

The rafters of the earth rent from the poles,

And three-form’d Luna hid her silver looks,