Folk-lore of Shakespeare by Thomas Firminger Thiselton Dyer (year 2 reading books .txt) 📖

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remote period that ghosts cannot bear the light, and so disappear at the dawn of day; their signal being the cock-crow.[78] The ghost of Hamlet’s father says (i. 5):

“But, soft! methinks I scent the morning air;
Brief let me be”—

and—

“Fare thee well at once.
The glow-worm shows the matin to be near,
And ’gins to pale his uneffectual fire:
Adieu, adieu! Hamlet, remember me.”

Again, in “King Lear” (iii. 4), Edgar says: “This is the foul fiend Flibbertigibbet: he begins at curfew, and walks till the first cock.”

The time of night, as the season wherein spirits wander abroad, is further noticed by Gardiner in “Henry VIII.” (v. 1):

“Affairs, that walk,
As they say spirits do, at midnight.”

It was a prevalent notion that a person who crossed the spot on which a spectre was seen became subject to its malignant influence. In “Hamlet” (i. 1), Horatio says, in reference to the ghost:

“But soft, behold! lo, where it comes again!
I’ll cross it, though it blast me.”

Lodge, in his “Illustrations of British History” (iii. 48), tells us that among the reasons for supposing the death of Ferdinand, Earl of Derby (who died young, in 1594), to have been occasioned by witchcraft, was the following: “On Friday there appeared a tall man, who twice crossed him swiftly; and when the earl came to the place where he saw this man, he fell sick.”

Reginald Scot, in his “Discovery of Witchcraft” (1584), enumerates the different kinds of spirits, and particularly notices white, black, gray, and red spirits. So in “Macbeth” (iv. 1), “black spirits” are mentioned—the charm song referred to (like the one in act iv.) being found in Middleton’s “Witch” (v. 2):

“Black spirits and white,
Red spirits and gray;
Mingle, mingle, mingle,
You that mingle may.”

A well-known superstition which still prevails in this and foreign countries is that of the “spectre huntsman and his furious host.” As night-time approaches, it is supposed that this invisible personage rides through the air with his yelping hounds; their weird sound being thought to forbode misfortune of some kind. This popular piece of folk-lore exists in the north of England under a variety of forms among our peasantry, who tenaciously cling to the traditions which have been handed down to them.[79] It has been suggested that Shakespeare had some of these superstitions in view when he placed in the mouth of Macbeth (i. 7), while contemplating the murder of Duncan, the following metaphors:

“And pity, like a naked new-born babe,
Striding the blast, or heaven’s cherubim, horsed
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind!”

Again, in “The Tempest” (iv. 1), Prospero and Ariel are represented as setting on spirits, in the shape of hounds, to hunt Stephano and Trinculo. This species of diabolical or spectral chase was formerly a popular article of belief. As Drake aptly remarks,[80] “the hell-hounds of Shakespeare appear to be sufficiently formidable, for, not merely commissioned to hunt their victims, they are ordered, likewise, as goblins,” to—

“grind their joints
With dry convulsions; shorten up their sinews
With aged cramps; and more pinch-spotted make them
Than pard or cat o’ mountain.

Ariel. Hark, they roar!

Prospero. Let them be hunted soundly.”
TRANSMIGRATION OF SOULS.

Shakespeare has several references to the old superstitious belief in the transmigration of souls, traces of which may still be found in the reverence paid to the robin, the wren, and other birds. Thus, in “The Merchant of Venice” (iv. 1), Gratiano says to Shylock:

“Thou almost makest me waver in my faith
To hold opinion with Pythagoras
That souls of animals infuse themselves
Into the trunks of men: thy currish spirit
Govern’d a wolf, who, hang’d for human slaughter,
Even from the gallows did his fell soul fleet,
And, whilst thou lay’st in thy unhallow’d dam,
Infused itself in thee; for thy desires
Are wolfish, bloody, starved, and ravenous.”

Caliban, when remonstrating with the drunken Stephano and Trinculo, for delaying at the mouth of the cave of Prospero, instead of taking the magician’s life (“Tempest,” iv. 1), says:

“I will have none on’t: we shall lose our time,
And all be turn’d to barnacles, or to apes.”

In “Hamlet” (iv. 5), in the scene where Ophelia, in her mental aberration, quotes snatches of old ballads, she says: “They say the owl was a baker’s daughter! Lord, we know what we are, but know not what we may be.”[81]

Again, in “Twelfth Night” (iv. 2), there is another reference in the amusing passage where the clown, under the pretence of his being “Sir Topas, the curate,” questions Malvolio, when confined in a dark room, as a presumed lunatic:

“Mal. I am no more mad than you are: make the trial of it in any constant question.

Clo. What is the opinion of Pythagoras concerning wild fowl?

Mal. That the soul of our grandam might haply inhabit a bird.

Clo. What thinkest thou of his opinion?

Mal. I think nobly of the soul, and no way approve his opinion.

Clo. Fare thee well. Remain thou still in darkness: thou shalt hold the opinion of Pythagoras ere I will allow of thy wits, and fear to kill a woodcock lest thou dispossess the soul of thy grandam.”

Although this primitive superstition is almost effete among civilized nations, yet it still retains an important place in the religious beliefs of savage and uncivilized communities.

FOOTNOTES:

[75] We may compare the words “unquestionable spirit” in “As You Like It” (iii. 2), which means “a spirit averse to conversation.”

[76] Douce’s “Illustrations of Shakespeare,” pp. 450, 451.

[77] Vast, i. e., space of night. So in “Hamlet” (i. 2):

“In the dead waste and middle of the night.”

[78] See p. 104.

[79] See Hardwick’s “Traditions, Superstitions, and Folk-lore,” 1872, pp. 153-176.

[80] “Shakespeare and His Times,” vol. i. p. 378.

[81] See Owl, chap. vi.

CHAPTER IV. DEMONOLOGY AND DEVIL-LORE.

The state of popular feeling in past centuries with regard to the active agency of devils has been well represented by Reginald Scot, who, in his work on Witchcraft, has shown how the superstitious belief in demonology was part of the great system of witchcraft. Many of the popular delusions of this terrible form of superstition have been in a masterly manner exposed by Shakespeare; and the scattered allusions which he has given, illustrative of it, are indeed sufficient to prove, if it were necessary, what a highly elaborate creed it was. Happily, Shakespeare, like the other dramatists of the period, has generally treated the subject with ridicule, showing that he had no sympathy with the grosser opinions shared by various classes in those times, whether held by king or clown. According to an old belief, still firmly credited in the poet’s day, it was supposed that devils could at any moment assume whatever form they pleased that would most conduce to the success of any contemplated enterprise they might have in hand; and hence the charge of being a devil, so commonly brought against innocent and harmless persons in former years, can easily be understood. Among the incidental allusions to this notion, given by Shakespeare, Prince Hal (“1 Henry IV.,” ii. 4) tells Falstaff “there is a devil haunts thee in the likeness of an old fat man;” “an old white-bearded Satan.” In the “Merchant of Venice” (iii. 1) Salanio, on the approach of Shylock, says: “Let me say ‘amen’ betimes, lest the devil cross my prayer, for here he comes in the likeness of a Jew.”

Indeed, “all shapes that man goes up and down in” seem to have been at the devil’s control, a belief referred to in “Timon of Athens” (ii. 2):

“Var. Serv. What is a whoremaster, fool?

Fool. A fool in good clothes, and something like thee. ’Tis a spirit: sometime ’t appears like a lord; sometime like a lawyer; sometime like a philosopher, with two stones moe than’s artificial one: he is very often like a knight; and, generally, in all shapes that man goes up and down in from fourscore to thirteen, this spirit walks in.”

A popular form assumed by evil spirits was that of a negro or Moor, to which Iago alludes when he incites Brabantio to search for his daughter, in “Othello” (i. 1):

“Zounds, sir, you are robb’d; for shame, put on your gown;
Your heart is burst, you have lost half your soul;
Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise!
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I say.”

On the other hand, so diverse were the forms which devils were supposed to assume that they are said occasionally to appear in the fairest form, even in that of a girl (ii. 3):

“When devils will the blackest sins put on,
They do suggest at first with heavenly shows.”

So in “The Comedy of Errors” (iv. 3) we have the following dialogue:

“Ant. S. Satan, avoid! I charge thee, tempt me not!

Dro. S. Master, is this mistress Satan?

Ant. S. It is the devil.

Dro. S. Nay, she is worse, she is the devil’s dam; and here she comes in the habit of a light wench; and thereof comes that the wenches say, ‘God damn me;’ that’s as much as to say, ‘God make me a light wench.’ It is written, they appear to men like angels of light.”

(Cf. also “Love’s Labour’s Lost,” iv. 3.) In “King John” (iii. 1) even the fair Blanch seemed to Constance none other than the devil tempting Lewis “in likeness of a new untrimmed bride.”

Not only, too, were devils thought to assume any human shape they fancied, but, as Mr. Spalding remarks,[82] “the forms of the whole of the animal kingdom appear to have been at their disposal; and, not content with these, they seem to have sought for unlikely shapes to appear in”—the same characteristic belonging also to the fairy tribe.

Thus, when Edgar is trying to persuade the blind Gloucester that he has in reality cast himself over the cliff, he describes the being from whom he is supposed to have just departed:

“As I stood here below, methought his eyes
Were two full moons; he had a thousand noses,
Horns whelk’d and wav’d like the enridged sea:
It was some fiend.”

Again, Edgar says (“King Lear,” iii. 6): “The foul fiend haunts poor Tom in the voice of a nightingale”—the allusion probably being to the following incident related by Friswood Williams: “There was also another strange thing happened at Denham about a bird. Mistris Peckham had a nightingale which she kept in a cage, wherein Maister Dibdale took great delight, and would often be playing with it. The nightingale was one night conveyed out of the cage, and being next morning diligently sought for, could not be heard of, till Maister Mainie’s devil, in one of his fits (as it was pretended), said that the wicked spirit which was in this examinate’s sister had taken the bird out of the cage and killed it in despite of Maister

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