success to substitute for religion a stolid system of respectable morality. Since Witchcraft was entirely exploded it would, at best, possess merely an antiquarian interest, and even so, the exhumation of a disgusting and contemptible superstition was not to be encouraged. It were more seemly to forget the uglier side of the past. This was the attitude which prevailed for more than a hundred and fifty years, and when Witchcraft came under discussion by such narrowly prejudiced and inefficient writers as Lecky or Charles Mackay they are not even concerned to discuss the possibility of the accounts given by the earlier authorities, who, as they premise, were all mistaken, extravagant, purblind, and misled. The cycle of time has had its revenge, and this rationalistic superstition is dying fast. The extraordinary vogue of and immense adherence to Spiritism would alone prove that, whilst the widespread interest that is taken in mysticism is a yet healthier sign that the world will no longer be content to be fed on dry husks and the chaff of straw. And these are only just two indications, and by no means the most significant, out of many.
It is quite impossible to appreciate and understand the true lives of men and women in Elizabethan and Stuart England, in the France of Louis XIII and his son, in the Italy of the Renaissance and the Catholic Reaction—to name but three countries and a few definite periods—unless we have some realization of the part that Witchcraft played in those ages amid the affairs of these kingdoms. All classes were concerned from Pope to peasant, from Queen to cottage gill.
Accordingly as actors are “the abstracts and brief chronicles of the time” I have given a concluding chapter which deals with Witchcraft as seen upon the stage, mainly concentrating upon the English theatre. This review has not before been attempted, and since Witchcraft was so formidable a social evil and so intermixed with all stations of life it is obvious that we can find few better contemporary illustrations of it than in the drama, for the playwright ever had his finger upon the public pulse. Until the development of the novel it was the theatre alone that mirrored manners and history.
There are many general French studies of Witchcraft of
