century, and composed Christian dramas in a diction somewhat resembling the style of Terence, with the purpose of expelling by these compositions the profane comedies of the heathen poet from schools and monasteries. In the thirteenth century, the legend of Theophilus became a favourite subject of dramatic composition. The French trouvère Rutebeuf, who lived in the reign of St. Louis, was the author of a miracle-play on this subject, edited in the 'Théâtre français au moyen âge, par MM. Monmerqué et Francisque Michel.' In this play we meet for the first time with the important circumstance of Theophilus writing a warrant of his soul with his own blood, the words being de son sanc les escrit. We further learn that in the year 1384 the inhabitants of the village of Aunay played the Miracle of Theophilus ou quel Jeu auoit un personnage de un qui deuoit getter d'un canon' see Warton's History of English Poetry,' p. 164 (Murray's reprint, 1870). There are also two plays on the same subject in Low German, probably written in the fifteenth century; they have been edited by the poet and antiquarian Hoffmann von Fallersleben, Hanover, 1853-54. See also the work of Ettmüller, Theophilus, der Faust des Mittelalters. Schauspiel aus dem 14ten Jahrhundert. Quedlinburg, 1849.'

6

The main difference between the legends of Faustus and Theophilus lies in the salvation of the latter, while the first actually becomes the prey of the Evil Spirit. It is worthy of remark that the great poet, who has in this century written a world-famous drama on the legend of Faustus, has reverted to the

ancient conception of the primary legend, by allowing hel Faustus to be saved at the conclusion of his career.1

Mr. G. H. Lewes has, in his Life of Goethe, analysed a drama by the Spanish playwright Calderon, which was however written after Marlowe's 'Doctor Faustus,' and has not therefore the slightest connection with the English drama.2 It may however be mentioned that in the Magico Prodigioso we find the same memorable trait, that Cyprian draws blood from his arm, and writes with this the agreement by which he gives his soul to the Devil. This may prove that the idea was very popular about the end of the sixteenth century.

It

The legend of Faustus was formed in the latter half of the same century on the basis of the ancient tale of Theophilus, with an admixture of numerous traits of magic lore derived from other sources. would indeed appear to have become a kind of common receptacle of all the wonderful and supernatural beliefs, which the superstition of the expiring times of the Middle Ages (not unjustly called the

Further information as to the literature bearing on the legend of Theophilus will be found in J. Grimm's Deutsche Mythologie, vol. ii. p. 969 (sec. ed.) The reader will also find there similar mediæval legends, of Pope Silvester II. (died 1003) and a certain Volprecht mentioned in the German poem called Das Annolied.-See E. Kölbing's Beitrage zur vergleichenden Geschichte der romanischen Poesie und Prosa des Mittelalters (Breslau, 1876), pp. 1-41, and the same writer's Englische Studien (Heilbronn, 1877) i. pp. 16-57, where two early English poems on this legend are published for the first time.

2 See also Shelley's translations of some scenes of Calderon's drama.

'Dark' Ages in this respect) had produced. Yet t legend, which plays such an important part in lit ature, is not entirely devoid of historical foundation

The Doctor Faustus of the legend has been f quently identified with the companion of Gutenber the printer Fust. Though we do not mean to de that a somewhat vague conception of the startli and to a certain extent-magic power of the ne art of printing, by which knowledge was spread ar communicated at a rate never before imagined, ma have surrounded the name of the first printer with th halo of a magician, yet it cannot be proved that the exists a direct connection between the magicia Doctor Faustus and the printer Fust. On the cor trary, the legend does not assume a definite shap until more than a century after the invention of th art of printing.

There actually existed in the first half of the six teenth century a Doctor Faustus who claimed an ac quaintance with magic arts. His existence is atteste by many incontrovertible statements. The well-known scholar and friend of Hutten, Conradus Mutianus Rufus, canon at Gotha (died 1526), writes, Oct. 3 1513, to his friend Henricus Urbanus :-'A week ago there came hither from Erfurt a chiromant, called Georgius Faustus Helmitheus Hedebergensis, a mere boaster and trickster. He is, however, greatly admired by the common herd. I myself heard him holding forth in an inn, without deigning to reply to his boasts; for why should I trouble my head about such non

1 Düntzer would write Hemitheus, quídeos. If Faustus gave himself this name, he was indeed insignis nebulo.

Itsense?' 1

Faustus received from the University of Erfurt permission to lecture on Homer; and it is reonported that his vivid descriptions of the Homeric heroes (probably drawn from such writers as Dares ePhrygius and Dictys Cretensis, and not from Homer) e excited among the students a wish to see these heroes in a bodily shape. Faustus, who pretended to possess the power of calling up the dead of former ages, innvited the students into a dark room, where he exhibited mato them the apparitions they had been desirous to see. thIn consequence of such practices, Faustus was at last e expelled from Erfurt. In 1516, Faustus lived for some ia time at Maulbronn in Würtemberg,2 his native country, on as he was born at a place called Knittlingen. It is pespecially mentioned that he studied alchymy at Maulthe bronn. It is further attested that Faustus remained for a considerable period at Wittenberg, and was there thrown into company with Doctor Luther and Melanchthon, though he did not enter into the views of those great reformers. According to Melanchthon's own statement, Faustus escaped from Wittenberg, when orders had already been given for his apprehension on account of his magic practices.3

Faustus would thus appear to have led a restless and changeful life, wandering from place to place,

1 See Carl Engel's excellent Introduction to his edition of the popular play on Faustus (Oldenburg, 1874), p. 6.

2 It is very curious, but at all events very noteworthy, that in the first two editions of Marlowe's play Wittenberg is constantly called Wertemberg or Wirtenberg. Commentary.

s Engel, p. 10.

See our Critical

always in pursuit of alchymistic knowledge, and p tending to be in possession of the occult arts.

T

cannot therefore be surprised to find that he was s pected of an undue familiarity with the Evil Spirit ; a no less an authority than Melanchthon seems to responsible for the report of his violent death. passage has been quoted by Engel, p. 12, and we w reproduce it here in English :-'A few years ago th Doctor Faustus was sitting, on his last day, ve sorrowfully in a village belonging to the Duchy Würtemberg. His host inquired of him why he wa so downcast, very contrary to his wont, he being other times a sad rogue, that led a disgraceful life, an was more than once near being killed on account his numerous love affairs. Faustus then told the hos that he should not allow himself to be frightened in th night. About the hour of midnight the house wa violently shaken. As Faustus did not appear in th morning, the host, having waited until noon, went int his room, and there found him lying beside his bed with his face all wrenched awry, so that it was plair that the Devil had killed him.'

It is well known that the great reformers were by no means exempt from the superstitious beliefs of their time, but shared them quite unreservedly. Most of the statements concerning the real Faustus have come down to us either through them or their adherents, and, such as they are, their historical value is marred by an admixture of superstition and fiction. We do not believe that the real Faustus was killed by the Devil. We should say that he was one of the last of those alchymists who pretended to much obscure knowledge,