But, parted thence, myne Host thinking to finde
Those glorious Pieces they had left behinde
Safe in his bag, sees nothing, saue together

Round scutes of horne and pieces of old leather.
Of such I could cite many

The life of Cornelius Agrippa, of which an account, together with a summary of the contents of his two most famous works, will be found in Henry Morley's biography (2 vols. 1856), is one of the most curious and interesting pictures of the labours and struggles of the Humanists of the Renascence. More recently his life has been rewritten, apparently with much judiciousness, by A. Prost, in his Corneille Agrippa, sa vie et ses œuvres. 'Agrippa,' says Morley, 'began his life by mastering nearly the whole circle of the sciences and arts as far as books described it, and ended by declaring the uncertainty and vanity' of both. Born at Cologne in 1486, he served the Emperor Maximilian I both as secretary and soldier, and obtained the honour of knighthood in recognition of his gallantry. He was at the same time an eager student, and at the early age of 22 had already composed the three books De Occultâ Philosophiâ which, when published many years later (1531), brought upon his name the infamy long attached to it by monastic and popular superstition. This work was a treatise on Cabbalism, inspired by Reuchlin's Hebrew-Christian method of interpreting the mystic lore of the Jews. Meanwhile the life of Agrippa had been that of a wanderer, divided between military and diplomatic service, university lectures and authorship, and controversy with the monks. Employed in a prominent way at the Council of Pisa, he drew upon himself the excommunication of Pope Julius II, which was removed by the next Pope, Leo X. In 1518 he accepted the post of Advocate and Orator to the Free City of Metz, but two years later was driven from the town as a successful opponent of Dominican intolerance. He then practised medicine in Switzerland, where he came into closer contact with the Reformation movement, without however seceding from the Church of Rome. He was a correspondent of Erasmus. (It may be remembered that in Nash's Unfortunate Traveller (1594) Surrey and the author meet that abundant Scholler Cornelius Agrippa at Wittenberg.' See Nash's Works, ed. Grosart, v. 75.) In 1524 he took service at Lyons as court physician to Louisa of Savoy, and here wrote his work De Incertitudine et Vanitate Scientiarum et Artium, a satirical review of their existing condition. In this book he recanted whatever errors there might be in his juvenile work, and, without denying the existence of the Cabbala, discouraged the search for it. But the attacks made in this later work upon the Court and courtiers brought upon him the wrath of the Emperor Charles V, when the book was published in 1531. Three years previously Agrippa

had removed to Antwerp, where he had been appointed Councillor of the Archives and Historiographer. Thus, having been involved in difficulties and in a quarrel with the monks of the University of Louvain, he had to fly from the Empire, and died as a homeless wanderer at Grenoble in 1535 on his way to Lyons, where the completest extant edition of his works was published about the year 1550. Superstition and intolerance busied themselves with his mysterious habits of life, and more especially converted a favourite black dog, by which he was attended in his closing days, into a familiar spirit. This legend, which has many parallels (as for instance that of the dog of Doctor Faustus, and that of Friar Bungay; cf. also Ben Jonson's Every Man out of His Humour, iv. 4), was cominemorated in a brutally intolerant inscription over his grave, and was discussed pro and con. by pious writers who, like Bodinus and Lercheimer (1585), believed in the diabolical agency, and by a faithful and intelligent follower, Weier (Wierus) (1515-1588), who in vain endeavoured to give a rational explanation of the relation between the man and the dog. Weier did further service to Agrippa's memory by protesting against the ascription to him, twenty-seven years after his death, of a foolish compilation called the fourth book of the work De Occultâ Philosophiâ (reprinted by Scheible, Kloster, iii. 564 seqq.).

Wagner, servant to Faustus. The name of Faustus's famulus (the usual term for students employed as assistants by German professors) is spelt 'Wagner' and 'Wagener' in the Faustbuch, where his Christian name is given as 'Christoph.' Widmann spells the name 'Waïger,' and gives 'Johan' as the Christian name. Goethe used the form 'Wagner,' and the curious circumstance is mentioned by Hayward, that one of Goethe's early friends-Heinrich Leopold Wagner-bore that name, who signalized himself by stealing from Faust (which had been confidentially communicated to him before publication) the idea of the tragic portion relating to Margaret, and making it the subject of a tragedy called The Infanticide. But it is clear from Goethe's Autobiography that he did not choose the name by way of revenge. For the references to Wagner in the Faustbuch see Introduction, pp. cv, cxxiii, cxxix. It is noteworthy that Widmann makes Wagner the son of a Catholic priest (at Wasserburg in Bavaria). The requisite data as to the Wagnerbuch, and its English version, have been given in the Introduction, pp. lviii, lxii, lxxiv. In Wagner's adventures a Spirit called 'Auerhan' (woodcock, or 'Attercocke' in the Second Report; and Akercock, Belphegor's man, in Grim the Collier of Croyden, or The Devil and his Dame; compare 'Urian' as a name for the Devil) plays a part corresponding to that of Mephistophiles, and in the Second Report Wagner has a 'boy' in his service called Arthur Harmarvan'; just as in our play (ii. 4) one of the scholars calls Wagner Faustus's 'boy,' i.e. servant.

Clown. To this 'Clown' the 'Hans Wurst' (Jack Pudding) of the German puppet-plays on the story of Doctor Faustus (sce Introduction, p. lxxvii) corresponds. In some of these Hans Wurst takes the still surviving name of 'Caspar' or 'Casperle.' Douce, in his Essay on the Clowns and Fools of Shakespeare (Illustrations of Shakespeare, vol. ii), shows that, while the term 'clown' was used as synonymous with 'fool' by our old writers, the former signified a character of much greater variety. The clown was occasionally the general domestic fool, but also a mere country booby (like Thomas and Richard in Friar Bacon, or a witty rustic, or a shrewd and witty servant. Thus he constituted an indispensable personage in the old English plays; and it is precisely the full licence to 'gag' allowed to the favourite performers of the character which renders it impossible to say how much, or how little, of the farcical business and dialogue in such a play as ours was 'written down' for him by the author. The English drama was rescued from the supremacy of the Clown at a relatively early period in its history, but in Germany Hans Wurst ruled the stage for the better part of a couple of centuries.

Robin. The familiar abbreviation for Robert, which even Queen Elizabeth did not disdain to apply to her favourite Leicester, and by which, according to Thomas Heywood, Robert Greene was invariably called. 'Rubin' is a favourite figure in the byplay of German mysteries. See Hase, Miracle Plays and Sacred Dramas (Engl. Tr.), p. 44 and notes. Ralph. In the quarto of 1604 this name is invariably printed Rafe, according to pronunciation.

Vintner, i.e. wine-seller; improperly addressed as 'Drawer,' ix. 7, if there be not some confusion in the passage, which is different in the quarto of 1616.

Horse-courser, i.e. horse-dealer or horse-changer. To 'scorse, scorce or scourse' is an old word of doubtful origin, frequently used in the sense of 'to exchange.' So in the passage quoted in Nares from Harington's Orlando Furioso, xx. 78:

'This done, she makes the stately dame to light

And with the aged woman cloths to scorse';

and in its special reference to horses: Will you scourse with him? you are in Smithfield, you may fit yourself with a fine easy-going streetnag,' etc. See Jonson's Bartholomew Fair (iii. 1), in which play one of the characters is 'Dan Jordan Knockem, a horse-courser and a ranger of Turnbull' (Turnmill-street); and cf. Bubulcus' graceless assumption of the same character in Shirley's Love-Tricks (iii. 5). One of the German translators humorously renders the word, which is also that of the English History, by 'Pferdephilister'; the French more literally by 'maquignon.' The Faustbuch has 'Rossteuscher.' When a sorcerer

meets a horse-dealer, Greek is meeting Greek. O. Francke, u. s. p. 38, cites from a burlesque, Mock-Thyestes (1674), a kind of proverb: 'Devils may learn of a Horse-courser.'

A Knight. Of this unfortunate personage the Faustbuch politely states that the author was desirous not to mention the name, inasmuch as he was a knight and a born baron; but the margin is less generous, adding Erat Baro ab Hardeck.' See Introduction, p. xcii.

An Old Man. The 'Old Man' of the Faustbuch is a Christian pious god-fearing physician' (see Introduction, p. cxxi, note 3); in the English History and Lercheimer his profession is not mentioned. He is called 'a pious pastor' in a late version of the legend; and may be identifiable with the historical Dr. Kling. See Introduction, p. li-and note. In a late version of the story Faust has a final interview with his old father. According to A. Bielschowsky (Vierteljahrschrift für Litteraturge-schichte, iv. 215 note) the character of the 'warning old man' is not rare in the early German drama. It must be distinguished from that of the hortatory old man pure and simple of Euphues and the Euphuistic school (cf. C. H. Herford, A Few Suggestions on Greene and Shakspere in New Shakspere Society's Transactions, 1891, pp. 184-6).

Scholars, i. e. students.

Lucifer. The morning- and evening-star was known in ancient Italy under the name, among others, of 'Lucifer,' which was possibly a translation of the ordinary Greek name for the morning-star, 'Ewopópos or twopópos. The name was applied by Isaiah, xiv. 12, to Nebuchadnezzar King of Babylon, and transferred by Eusebius and subsequent authors to the chief of the angels expelled as rebels from heaven. In the systems of infernal government constructed by later writers, Lucifer was either placed at the head of all the devils, or reckoned as one of the seven chief infernal potentates ('electors") under the supremacy of Belial. In Marlowe's play he holds the supreme position (see iii. 67), though the term 'Prince of the East,' which was probably suggested by his name as the morning-star, and which is used of him v. 104, is in its Latin form applied to Belzebub, iii. 17. According to the Faustbuch (ch. xiii) it is Lucifer who rules 'in Orient,' hence he is called 'prince of the east' in our play (v. 104); while 'Beelzebub,' to whom the title 'Orientis princeps' is given in the conjuration of Faustus (iii. 17), rules in Septentrione.' In Friar Bacon, ix. 144 and xi. 109, the titles of 'guider' and 'ruler of the north' are given to Asmenoth. According to the teaching of dæmonology, a division of the quarters of the world among four angels existed before the Fall, and it was the 'Prince of the East' who rebelled, and to whom half of the universe was henceforth closed, so that he became the 'prince of this world,' as in Luther's hymn Ein' feste Burg. The beauty of Lucifer is extolled

by Dante in the Inferno, c. xxxiv, and in the Purgatorio, c. xii, where he is described as one who was counted fairer than any other creature, falling from one side of heaven like a flash of lightning.' Cf. Paradise Lost, vii. 131-134. Compare, as to the fall of Lucifer, note to iii. 63; and see Cædmon, 246 seqq., and Cursor Mundi, i. 33 seqq. According to the belief of the Franciscans and others, since the year 1000 A.D. the Devil, after his millenary captivity (Revelation, xx. 2), had been let loose from hell to 'deceive the nations.' See T. Arnold's note, Select English Works of Wyclif, i. 133.

Belzebub. The name Belzebub (Baal-zebub') signifies 'the god of flies'; 'Baal' ('Lord') being a general name for 'god' among the Semitic nations, which designated their different Baals or gods by names compounded of this word and others indicating localities or signifying qualities.... This particular deity was worshipped at Ekron in Palestine (2 Kings, i. 2, 3), where the plague of flies or insects which afflicts hot countries seems to have been particularly felt; and that he was an important deity of Palestine may be gathered from his being referred to afterwards (St. Matthew, xii. 24) as “Beelzebub, the prince of the devils." From Masson's note on Milton's Paradise Lost, i. 80, 81.— With such gentlemen as you,' says Goethe's Faust Hayward), 'one may generally learn the essence from the name, since it appears but too plainly, if your name be fly-god, destroyer, liar.' Compare the passage in The Faerie Queene, i. 1. 38, where Archimago summons spirits like flies. In the Faustbuch (ch. xxiii) Beelzebub' appears as one of the seven principal spirits introduced to Faustus by their chief Belial, and is thus described: He had hair of flesh-colour, and an ox's head, with two terrible ears, was also quite covered with bristles and hair, and had two large wings, as sharp as the thistles in the field, half green and yellow, only that over the wings flew streams of fire; he had a cow's tail.'-The spellings of the name in the quarto of 1604 are Belsabub,' 'Belzabub,' and ' Belsibub,' but both the English History in the edition of 1592 and the German Faustbuch use the spelling 'Peelzebub.'

Mephistophilis. Of this name the etymology is very doubtful. It is usually spelt in the quarto of 1604 Mephastophilis,' also 'Mephastophilus'—hence a vocative in 'e,' v. 29-and twice Mephostophilis'; compare the form 'Mephostophilus' used by Pistol in The Merry Wives, i. 1. 132, and by Flavia, disguised as a witch, in Shirley's The Young Admiral, iv. 1. The German Faustbuch and the English History have 'Mephostophiles'; and, by way of metathesis, J. V. Andreæ (cf. Introduction, p. lxxvii, note 1) has 'Mephistopholes.' The form 'Mephistophiles,' adopted by Goethe, is said (by Engel, u.5., 34) first to occur in an old German popular play, Johann Faust, which was printed at Munich in 1775. The form 'Mephistophiel' is used in the Praxis