[109] Conscious of his approaching fate, the trembling magician replies to the anxious inquiries of his surrounding pupils--'"For the vain pleasure of four-and-twenty years hath Faustus lost eternal joy and felicity. I writ them a bill with my own blood; the date is expired; this is the time, and he will fetch me." First Scholar--"Why did not Faustus tell us of this before, that divines might have prayed for thee?" Faust--"Oft have I thought to have done so; but the devil threatened to tear me in pieces if I named God; to fetch me body and soul if I once gave ear to divinity. And now it is too late."' As the fearful moment fast approaches, Dr. Faustus, orthodox on the subject of the duration of future punishment, exclaims in agony-- 'Oh! if my soul must suffer for my sin, Impose some end to my incessant pain. Let Faustus live in hell a thousand years-- A hundred thousand, and at the last be saved: No end is limited to damned souls. Why wert thou not a creature wanting soul? Oh, why is this immortal that thou hast?' &c. Mephistopheles, it need hardly be added, was on this occasion true to his reputation for punctuality. _Friar Bacon and Friar Bungay_ is remarked for being one of the last dramatic pieces in which the devil appears on the stage in his proper person--1591. It is also noticeable that he is the only Scripture character in the new form of the play retained from the _miracles_ which delighted the spectators in the fifteenth century, who were at once edified and gratified by the corporal chastisement inflicted upon his vicarious back. Magic and necromantic prowess was equally recognised in Southern Europe. The Italian poets employed such imposing paraphernalia in the construction of an epic; and Cervantes has ridiculed the prevailing belief of his countrymen.[110]