The Mystery of Witchcraft - History, Mythology & Art. William Godwin
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much that they were the peculiar care of heaven as that they were the miserable victims of hellish malice, ever seeking their temporal as well as eternal destruction; a fact apparent in the whole mediæval literature and art.80
Glanvil's conjectures on the cause of the comparative rarity of demoniac and other spiritual apparitions in general may interest the credulous or curious reader. ''Tis very probable,' reasons the Doctor, 'that the state wherein they are will not easily permit palpable intercourses between the bad genii and mankind: since 'tis like enough their own laws and government do not allow their frequent excursions into the world. Or it may with great probability be supposed that 'tis a very hard and painful thing for them to force their thin and tenuious bodies into a visible consistence, and such shapes as are necessary for their designs in their correspondence with witches. For in this action their bodies must needs be exceedingly compressed, which cannot well be without a painful sense. And this is, perhaps, a reason why there are so few apparitions, and why appearing spirits are commonly in such a hurry to be gone, viz. that they may be delivered of the unnatural pressure of their tender vehicles,81 which I confess holds more in the apparition of good than evil spirits ... the reason of which probably is the greater subtlety and tenuity of the former, which will require far greater degrees of compression and consequently of pain to make them visible; whereas the latter are feculent and gross, and so nearer allied to palpable existences, and more easily reducible to appearance and visibility.'82
'Palpable intercourses between the bad genii and mankind' are more frequent than Dr. Glanvil was disposed to believe; and he must have been conversant with the acts of Incubus and Succubus. In the first age (orbe novo cœloque recenti) under the Saturnian regime, 'while yet there was no fear of Jove,'83 innocence prevailed undisturbed; but soon as the silver age was inaugurated by the usurpation of Jove, liaisons between gods and mortals became frequent. Love affairs between good or bad 'genii' and mankind are of common occurrence in the mythology of most peoples. In the romance-tales of the middle age lovers find themselves unexpectedly connected with some mysterious being of inhuman kind. The writers in defence of witchcraft quote Genesis vi. in proof of the reality of such intercourses; and Justin Martyr and Tertullian, the great apologists of Christianity, and others of the Fathers, interpret Filios Dei to be angels or evil spirits who, enamoured with the beauty of the women, begot the primeval giants.84
Some tremendous results of diabolic connections appear in the metrical romances of the twelfth or thirteenth century, as well as in those early Anglo-Norman chroniclers or fabulists, who have been at the pains to inform us of the pre-historic events of their country. The author of the romance-poem of the well-known Merlin—so famous in British prophecy—in introducing his hero, enters upon a long dissertation on the origin of the infernal arts. He informs us on the authority of 'David the prophet, and of Moses,' that the greater part of the angels who rebelled under the leadership of Lucifer, lost their former power and beauty, and became 'fiendes black:' that instead of being precipitated into 'helle-pit,' many remained in mid-air, where they still retain the faculty of seducing mortals by assuming whatever shape they please. These had been much concerned at the miraculous birth of Christ; but it was hoped to counteract the salutary effects of that event, by producing from some virgin a semi-demon, whose office it should be to disseminate sorcerers and wicked men. For this purpose the devil85 prepares to seduce three young sisters; and proceeds at once in proper disguise to an old woman, with whose avarice and cunning he was well acquainted. Her he engaged by liberal promises to be mediatrix in the seduction of the elder sister, whom he was prevented from attempting in person by the precautions of a holy hermit. Like 'the first that fell of womankind,' the young lady at length consented; was betrayed by the fictitious youth, and condemned by the law to be burnt alive.
The same fate, excepting the fearful penalty, awaited the second. And now, too late, the holy hermit became aware of his disastrous negligence. He strictly enjoined on the third and remaining sister a constant watch. Her security, however, was the cause of her betrayal. On one occasion, in a moment of remissness, she forgot her prayers and the sign of the cross, before retiring for the night. No longer excluded, the fiend, assuming human shape, effected his purpose. In due time a son was born, whose parentage was sufficiently evinced by an entire covering of black hair, although his limbs were well-formed, and his features fine. Fortunately, the careless guardian had exactly calculated the moment of the demon's birth; and no sooner was he informed of the event, than the new-born infant was borne off to the regenerating water, when he was christened by the name of Merlin; the fond hopes of the demons being for this time, at least, irretrievably disappointed. How Merlin, by superhuman prowess and knowledge, defeated the Saracens (Saxons) in many bloody battles; his magical achievements and favour at the court of King Vortigern and his successors, are fully exhibited by the author of the history.86 Geoffrey of Monmouth recounts them as matters of fact; and they are repeated by Vergil in the History of Britain, composed under the auspices of Henry VIII.
By the ancients, whole peoples were sometimes said to be derived from these unholy connections. Jornandes, the historian of the Goths, is glad to be able to relate their hated rivals, the Huns (of whom the Kalmuck Tartars are commonly said to be the modern representatives), to have owed their origin to an intercourse of the Scythian witches with infernal spirits. The extraordinary form and features of those dreaded emigrants from the steppes of Tartary, had suggested to the fear and hatred of their European subjects, a fable which Gibbon supposes might have been derived from a more pleasing one of the Greeks.87
The acts of Incubus assume an important part in witch-trials and confessions. Incubus is the visitor of females, Succubus of males. Chaucer satirises the gallantries of the vicarious Incubus by the mouth of the wife of Bath (that practical admirer of Solomon and the Samaritan woman),88 who prefaces her tale with the assurance:—
That maketh that ther ben no fayeries,
For ther as wont was to walken an elf
Ther walketh noon but the Lymitour himself.
* * * * *
Women may now go safely up and downe;
In every busch and under every tre
Ther is noon other Incubus but he.
Reginald Scot has devoted several chapters of his work to a relation of the exploits of Incubus.89 But he honestly warns his readers 'whose chaste ears cannot well endure to hear of such lecheries (gathered out of the books of divinity of great authority) to turn over a few leaves wherein I have, like a groom, thrust their stuff, even that which I myself loath, as into a stinking corner: howbeit none otherwise, I hope, but that the other parts of my writing shall remain sweet.' He repeats a story from the 'Vita Hieronymi,' which seems to insinuate some suspicion of the character of a certain Bishop Sylvanus. It relates that one night Incubus invaded a certain lady's bedroom. Indignant at so unusual, or at least disguised, an apparition, the lady cried out loudly until the guests of the house came and found it under the bed in the likeness of the bishop; 'which holy man,' adds Scot, 'was much defamed thereby.' Another tradition or legend seems to reflect upon the chastity of the greatest saint of the Middle Ages.90 The superhuman oppression of Incubus is still remembered in the proverbial language of the present day. The horrors of the infernal compacts and leagues, as exhibited in the fates of wizards or magicians at the last hour, formed one of the most popular scenes on the theatrical stage. Christopher Marlow, in 'The Life and Death of Dr. Faustus,' and Robert Greene, in 'Friar Bacon