Lyly's Chimerical Vision: Witchcraft in Endymion

Scepticism and belief in English witchcraft drama, 1538–1681

“…And that this thing is true, Maister Tice Artine a Brewer dwelling at Puddlewharfe, in London, beeing a man of that Country borne, and one of good reputation and account, is able to iustifie, who is neere kinsman to this Childe, and hath from thence twice receiued Letters conserning the same, and for that the firste Letter did rather drive him into wondering at the act then yielding credit thereunto, he had shortlye after at request of his writing another letter sent him, whereby he was more fully satisfied, and divers other persons of great credit in London hath in like sorte received letters from their friends to the like effect. 77 The standard tactic used in this passage is to emphasise the reliability of the person who is prepared to vouch for the truth of the story. Only one of the 'persons of great credit' is actually named, and his social standing as a brewer might not have impressed all contemporary readers.…”

“…Dipsas has been seen as one example of an Elizabethan stage witch who conforms to the stereotype established in the literature outside the theatre. 77 This judgement is largely based on the lengthy poetic tributes to Dipsas's ugliness, by the foolish knight, Sir Tophas, who is enamoured of her:…”

“…The annulment of the Essex-Howard marriage was eventually granted without explicit reference to maleficium versus hanc in the text of the decision, which referred instead to 'some secret, incurable, binding impediment'. 77 Maleficium seems to have been abandoned as a convincing rationale for the nullity, probably because of the widespread scepticism with which the claim seems to have been greeted by the public. The topic seems to have induced considerable mirth, as well as anger, and people associated with the nullity proceedings were reportedly held in 'perpetual scorn' afterwards.…”

“…But Mistress Generous's witchcraft is only ever treated seriously in the two scenes in which she is confronted by her husband. These scenes, referred to by Tomkyns as 'the onely tragicall part of the story', 77 gain whatever gravitas they may have by representing a husband betrayed by his wife, not by representing a witch. In so far as they do touch on witchcraft, it is a witchcraft far removed from what has been represented on stage.…”

“…And that in th' Ayr, or Dance lyes all the Wit? 77 Rawlins's patriotic complaint identifies the 'thundering machine' as part of the 'invasion' of the foreign into English theatre, an invasion which is linked to a proliferation of witches and devils. But aside from his complaint about the ascendancy of the special effects made possible by machinery and the allure of painted and moveable scenery, the prologue also identifies singing and dancing as a distraction from the playwright's wit -or an excuse for the deficiency of playwrights in that regard.…”