Witch, Warlock, and Magician - Adams William Henry Davenport

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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,

      Tumbling upon her concave continent,

      When Bacon read upon his magic book.

      With seven years’ tossing necromantic charms,

      Poring upon dark Hecat’s principles,

      I have framed out a monstrous head of brass,

      That, by the enchanting forces of the devil,

      Shall tell out strange and uncouth aphorisms,

      And girt fair England with a wall of brass.

      Bungay and I have watch’d these threescore days,

      And now our vital spirits crave some rest:

      If Argus lived and had his hundred eyes,

      They could not over-watch Phobetor’s9 night.

      Now, Miles, in thee rests Friar Bacon’s weal:

      The honour and renown of all his life

      Hangs in the watching of this Brazen Head;

      Therefore I charge thee by the immortal God

      That holds the souls of men within his fist,

      This night thou watch; for ere the morning star

      Sends out his glorious glister on the north

      The Head will speak. Then, Miles, upon thy life

      Wake me; for then by magic art I’ll work

      To end my seven years’ task with excellence.

      If that a wink but shut thy watchful eye,

      Then farewell Bacon’s glory and his fame!

      Draw close the curtains, Miles: now, for thy life,

      Be watchful, and … (Falls asleep.)

      Miles. So; I thought you would talk yourself asleep anon; and ’tis no marvel, for Bungay on the days, and he on the nights, have watched just these ten and fifty days: now this is the night, and ’tis my task, and no more. Now, Jesus bless me, what a goodly head it is! and a nose! You talk of Nos10 autem glorificare; but here’s a nose that I warrant may be called Nos autem populare for the people of the parish. Well, I am furnished with weapons: now, sir, I will set me down by a post, and make it as good as a watchman to wake me, if I chance to slumber. I thought, Goodman Head, I would call you out of your memento.11 Passion o’ God, I have almost broke my pate! (A great noise.) Up, Miles, to your task; take your brown-bill in your hand; here’s some of your master’s hobgoblins abroad.

      The Brazen Head (speaks). Time is.

      Miles. Time is! Why, Master Brazen-Head, you have such a capital nose, and answer you with syllables, ‘Time is’? Is this my master’s cunning, to spend seven years’ study about ‘Time is’? Well, sir, it may be we shall have some better orations of it anon: well, I’ll watch you as narrowly as ever you were watched, and I’ll play with you as the nightingale with the glow-worm; I’ll set a prick against my breast.12 Now rest there, Miles. Lord have mercy upon me, I have almost killed myself. (A great noise.) Up, Miles; list how they rumble.

      The Brazen Head (loquitur). Time was.

      Miles. Well, Friar Bacon, you have spent your seven years’ study well, that can make your Head speak but two words at once, ‘Time was.’ Yea, marry, time was when my master was a wise man; but that was before he began to make the Brazen Head. You shall lie while you ache, an your head speak no better. Well, I will watch, and walk up and down, and be a peripatetian13 and a philosopher of Aristotle’s stamp. (A great noise.) What, a fresh noise? Take thy pistols in hand, Miles. (A lightning flashes forth, and a Hand appears that breaks down the Head with a hammer.) Master, master, up! Hell’s broken loose! Your Head speaks; and there’s such a thunder and lightning, that I warrant all Oxford is up in arms. Out of your bed, and take a brownbill in your hand; the latter day is come.

      Bacon. Miles, I come. (Rises and comes forward.)

      O, passing warily watched!

      Bacon will make thee next himself in love.

      When spake the Head?

      Miles. When spake the Head? Did you not say that he should tell strange principles of philosophy? Why, sir, it speaks but two words at a time.

      Bacon. Why, villain, hath it spoken oft?

      Miles. Oft! ay, marry hath it, thrice; but in all those three times it hath uttered but seven words.

      Bacon. As how?

      Miles. Marry, sir, the first time he said, ‘Time is,’ as if Fabius Commentator14 should have pronounced a sentence; then he said, ‘Time was;’ and the third time,

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<p>9</p>

From the Greek φόβος, fear; φόβητρα, bugbears.

<p>10</p>

Bad puns were evidently common on the stage before the days of Victorian burlesque.

<p>11</p>

So Shakespeare, ‘1 Hen. IV.,’ iii. Falstaff says: ‘I make as good use of it as many a man doth of a death’s head, or a memento house.’

<p>12</p>

So in the ‘Passionate Pilgrim’:

‘Save the nightingale alone:She, poor bird, as all forlorn,Leaned her breast uptill a thorn.’
<p>13</p>

A peripatetic, or walking philosopher. Observe the facetiousness in ‘Aristotle’s stamp.’ Aristotle was the founder of the Peripatetics.

<p>14</p>

Fabius Cunctator, or the Delayer, so called from the policy of delay which he opposed to the vigorous movements of Hannibal. One would suppose that the humour here, such as it is, would hardly be perceptible to a theatrical audience.