"Know ye this, by the way, that heretofore Robin Goodfellow and Hobgoblin were as terrible, and also as credible, to the people as hags and witches be now; and in time to come a witch will be as much derided and condemned, and as clearly perceived, as the illusion and knavery of Robin Goodfellow, upon whom there have gone as many and as credible tales as witchcraft, saving that it hath not pleased the translators of the Bible to call spirits by the name of Robin Goodfellow, as they have diviners, soothsayers, poisoners, and cozeners by the name of witches."[46] In the same tone Reginald Scot addresses the reader in the preface:--"To make a solemn suit to you that are partial readers to set aside partiality, to take in good part my writings, and with indifferent eyes to look upon my book, were labour lost and time ill-employed; for I should no more prevail herein than if, a hundred years since, I should have entreated your predecessors to believe that Robin Goodfellow, that great and ancient bull-beggar, had been but a cozening merchant, and no devil indeed. But Robin Goodfellow ceaseth now to be much feared, and Popery is sufficiently discovered; nevertheless, witches' charms and conjurers' cozenage are yet effectual." This passage seems clearly to prove that the belief in Robin Goodfellow and his fairy companions was now out of date; while that as to witchcraft, as was afterwards but too well shown, kept its ground against argument and controversy, and survived "to shed more blood." [Footnote 46: Reginald Scot's "Discovery of Witchcraft," book vii. chap, ii.] We are then to take leave of this fascinating article of the popular creed, having in it so much of interest to the imagination that we almost envy the credulity of those who, in the gentle moonlight of a summer night in England, amid the tangled glades of a deep forest, or the turfy swell of her romantic commons, could fancy they saw the fairies tracing their sportive ring. But it is in vain to regret illusions which, however engaging, must of necessity yield their place before the increase of knowledge, like shadows at the advance of morn. These superstitions have already survived their best and most useful purpose, having been embalmed in the poetry of Milton and of Shakespeare, as well as writers only inferior to these great names. Of Spenser we must say nothing, because in his "Faery Queen" the title is the only circumstance which connects his splendid allegory with the popular superstition, and, as he uses it, means nothing more than an Utopia or nameless country.