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leading to it, actually did believe themselves to have had intercourse with the Evil One, consequently to be witches; and the design of the play is to illustrate this curious condition of nature. Soon after the publication of that powerful and pathetic novel, I mentioned my thoughts upon the subject to Sir W. Scott, and urged him to pursue the new path he had just entered into. That I was unsuccessful in my suit, and failed to persuade him to undertake the subject, all his warm admirers—and who are not?—must regret,—a regret that will not be diminished by the perusal of the Tragedy on Witchcraft. The language made use of, both as regards the lower and higher characters, is pretty nearly that which prevailed in the West of Scotland about the period assigned to the event, or at least soon after it; and that the principal witch spoke differently from the other two, is rendered probable from her being a stranger, and her rank in life unknown. Even in those days the well-educated classes were distinguished from their neighbours on the south side of the Tweed, by their accent and pronunciation, rather than any actual difference of words.

The story is entirely imaginary, one circumstance excepted, viz. the piece rent from the gown of the supposed witch, produced in court as a proof that she had actually been present, though invisible, in the chamber of the tormented patient,—a real circumstance, mentioned, I believe, in one of the trials for witchcraft, though I forget where.