There are incantation scenes in Dryden’s tragedies, but these hardly come within our survey, as the magicians are treated romantically, one might even say decoratively, and certainly here no touch of realism is sought or intended. We have the famous episode in _The Indian-Queen_ (produced at the Theatre Royal in January, 1663-4), when Zempoalla seeks Ismeron the prophet who raises the God of Dreams to prophesy her destiny;[17] in the fourth act of _Tyrannick Love_ (Theatre Royal, June, 1669), the scene is an Indian cave, where at the instigation of Placidius the magician Nigrinus raises a vision of the sleeping S. Catharine, various astral spirits appear only to fly before the descent of Amariel, the Saint’s Guardian-Angel; in _Œdipus_, by Dryden and Lee (Dorset Garden, December, 1678), Teresias plays a considerable part, and Act III is mainly concerned with a necromantic spell that raises the ghost of Laius in the depths of a hallowed grove. In _The Duke of Guise_, moreover (Theatre Royal, December, 1682), there is something of real horror in the figures of Malicorne and his familiar Melanax, and the scene[18] when the miserable wizard, whose bond is forfeit, is carried shrieking to endless bale, cannot be read without a shudder even after the last moments of Marlowe’s _Faustus_. Act IV of Lee’s _Sophonisba_ (Theatre Royal, April, 1675) commences with the temple of Bellona, whose priestesses are shown at their dread rites. Cumana is inspired by the divinity, she raves in fury of obsession, there is a dance of spirits, and various visions are evoked. In Otway’s curious rehandling of _Romeo and Juliet_ which he Latinized as _The History and Fall of Caius Marius_ produced at Dorset Garden in the autumn of 1679, the Syrian witch Martha only appears for a moment to prophesy good fortune to Marius and to introduce a dance of spirits by the waving of her wand.