[107] William Lilly wrote a History of his own life and times. His adroitness in accommodating his prophecies to the alternating chances of the war does him considerable credit as a prophet. Prospero is the type of the Theurgic, as Comus is of the Goetic, magician. His spiritual minister belongs to the order of good, or at least middle spirits-- 'Too black for heav'n, and yet too white for hell.'[108] [108] Released by his new lord from the sorceric spell of that 'damn'd witch Sycorax,' he comes gratefully, if somewhat weariedly, to answer his 'blest pleasure; be't to fly, to swim, to dive into the fire, to ride on the curl'd clouds,' &c. Prospero, by an irresistible magic, subdued to his service the reluctant Caliban, a monster 'got by the devil himself upon his wicked dam:' but that semi-demon is degraded into a mere beast of burden, brutal and savage, with little of the spiritual essence of his male parent. Comus, as represented in that most beautiful drama by the genius of Milton, is of the classic rather than Christian sort: he is the true son of Circe, using his mother's method of enchantment, transforming his unwary victims into the various forms or faces of the bestial herd. Like the island magician without his magical garment, the wicked enchanter without his wand loses his sorceric power; and-- 'Without his rod reversed, And backward mutters of dissevering power,' it is not possible to disenchant his spell-bound prisoners. In the sixteenth century many wonderful stories obtained of the tremendous feats of the magic art. Those that related the lives of Bacon, and of Faust (of German origin), were best known in England; and, in the dramatic form, were represented on the stage. The comedy of 'Friar Bacon and Friar Bungay,' and the tragedy of 'The Life and Death of Dr. Faustus,' are perhaps the most esteemed of the dramatic writings of the age which preceded the appearance of Shakspeare. In the latter Faustus makes a compact with the devil, by which a familiar spirit and a preternatural art are granted him for twenty-four years. At the end of this period his soul is to be the reward of the demons.[109] From the 'Faustus' of Christopher Marlow, Goethe has derived the name and idea of the most celebrated tragedy of our day.