Such were the leaders of the cabalistic and alchemical Magi in the days of our Virgin Queen; men, in the estimation of the great bulk of the people, possessed of super-human power, and who, notwithstanding their ignorance and presumption, and the exposure of their art by some choice spirits of their own, and the immediately subsequent period, among whom Ben Jonson, as the author of the Alchemist, stands pre-eminent, continued for near a century to excite the curiosity, and delude the expectations of the public.[514:B]
The delineation of Prospero, the noblest conception of the Magic character which ever entered the mind of a poet, is founded upon a distinction which was supposed to exist between the several professors of this mysterious science. They were separated, in fact, into two great orders; into those who commanded the service of superior intelligences, and into those who, by voluntary compact, entered into a league with, or submitted to be the instruments of these powers. Under the first were ranked Magicians, who were again classed into higher or inferior, according to the extent of the control which they exerted over the invisible world; the former possessing an authority over celestial, as well as infernal spirits. Under the second were included Necromancers and Wizards, who, for the enjoyment of temporary power, subjected themselves, like the Witch, to final perdition.
Of the highest class of the first order was Prospero, one of those Magicians or Conjurors who, as Reginald Scot observes, "professed an art which some fond divines affirme to be more honest and lawfull than necromancie, which is called Theurgie; wherein they worke by good angels."[515:A] Accordingly, we find Prospero operating upon inferior agents, upon elves, demons, and goblins, through the medium of Ariel, a spirit too delicate and good to "act abhorr'd commands," but who "answered his best pleasure," and was subservient to his "strong bidding."
Shakspeare has very properly given to the exterior of Prospero, several of the adjuncts and costume of the popular magician. Much virtue was inherent in his very garments; and Scot has, in many instances, particularised their fashion. A pyramidal cap, a robe furred with fox-skins, a girdle three inches in breadth, and inscribed with cabalistic characters, shoes of russet leather, and unscabbarded
swords, formed the usual dress; but, on peculiar occasions, certain deviations were necessary; thus, in one instance, we are told the Magician must be habited in "clean white cloathes;" that his girdle must be made of "a drie thong of a lion's or of a hart's skin;" that he must have a "brest-plate of virgine parchment, sowed upon a piece of new linnen," and inscribed with certain figures; and likewise, "a bright knife that was never occupied," covered with characters on both sides, and with which he is to "make the circle, called Salomon's circle."[516:A]
Our poet has, therefore, laid much stress on these seeming minutiæ, and we find him, in the second scene of The Tempest, absolutely asserting, that the essence of the art existed in the robe of Prospero, who, addressing his daughter, says,—
———————— "Lend thy hand,
And pluck my magick garment from me.—So;
(Lays dawn his mantle.
Lie there my art."