The magician shows a disposition to adapt himself to contemporary conditions and to change his personality with the times. Not so the witch. She is a permanent figure. She has appeared in the various forms of literature, in Elizabethan drama, in Gothic romance, in modern poetry, the novel and the short story, and is very much alive to-day. We have witches young and old. We have the fake witch, like the hoax ghost; the imputed witch and the genuine article. We have witch stories melodramatic, romantic, tragic, comic, and satiric, showing the influence of the great creations of past literature with modern adaptations and additions. English poetry is full of witchery, perhaps largely the result of the Celtic influence on our literature. The poetic type of witchcraft is brought out in such poems as Coleridge's _Christabel_, where the beauty and suggestiveness veil the sense of unearthly evil; or in Shelley's _Witch of Atlas_, where the woman appears as a symbol of alluring loveliness possessing none of the hideous aspects seen in other weird women. The water enchantress in Shelley's fragment of an unfinished drama might be mentioned as another example while Keats's _La Belle Dame sans Merci_ has a magical charm all her own. Christina Rossetti's _Goblin Market_ shows a peculiar aspect of magic, as also Mrs. Browning's _The Lay of the Brown Rosary_. On the contrary, Milton's _Comus_, Robert Herrick's _The Hag_, and James Hogg's _The Witch of Fife_ illustrate the uglier aspects of enchantment. There are two definite types of witches seen in English fiction, the first being merely the reputed witch, the woman who is falsely accused or suspected of black arts, and who either is persecuted, or else gains what she wishes by hints of her traffic in evil, like the Old Granny Young in _Mine Host and the Witch_, by James Blythe, who chants as a charm-rune, "A curse shall lay on water and land For the thing denied the witch's hand,"