Peeter and the wolf

The pamphlet A true discourse. Declaring the damnable life and death of one Stubbe Peeter, a most wicked sorcerer who in the likenes of a woolfe, committed many murders

(1590) is relatively well known, and can be found faithfully transcribed in various places on the darker side of the internet. Stubbe (or Stumpf?) was in all likelihood a mass murderer, though the Wikipedia entry suggests the chance that he was victim of what has to be conceded would have amounted to an energetic smear campaign mounted by the new Catholic authorities, which represented a solid Protestant citizen as a mass-murderer, werewolf, cannibal, as infanticidal, and as a perpetrator of double incest and demoniality.

The full title places his killings near Cologne, and is interestingly informative about the transmission into England of this lurid narrative (and it is apparently only this English version that survives, the German original has been lost):

A true discourse. Declaring the damnable life and death of one Stubbe Peeter, a most wicked sorcerer who in the likenes of a woolfe, committed many murders, continuing this diuelish practise 25. yeeres, killing and deuouring men, woomen, and children. Who for the same fact was taken and executed the 31. of October last past in the towne of Bedbur neer the cittie of Collin in Germany. Trulye translated out of the high Duch, according to the copie printed in Collin, brought ouer into England by George Bores ordinary poste, the xi. daye of this present moneth of Iune 1590. who did both see and heare the same.

Later on in the pamphlet, there’s the same desire to attest to the truth of this incredible and hideous story: a girl who survived one of Stubbe’s last attacks (in werewolf form) was saved by the high stiff collar of the coat she was wearing: “And that this thing is true, Maister Tice Artine a Brewer dwelling at Puddlewharfe, in London, being a man of that Country borne, and one of good reputation and account, is able to justify, who is near Kinsman to this Childe, and hath from thence twice received Letters concerning the same.”

~~~~~~~~~~~~

Though I had seen references to the pamphlet, what I hadn’t gathered was that it is such a striking Faustus-variant: Peter Stubbe had sold his soul to the devil, in his case in exchange for the ability to kill with impunity. In his negotiation with the devil:

“this vile wretch neither desired riches nor promotion, nor was his fancy satisfied with any external or outward pleasure, but having a tyrannous hart, and a most cruel bloody mind, he only requested that at his pleasure he might work his malice on men, Women, and children, in the shape of some beast, whereby he might live without dread or danger of life, and unknown to be the executor of any bloody enterprise, which he meant to commit· The Devil who saw him a fit instrument to perform mischief as a wicked fiend pleased with the desire of wrong and destruction, gave unto him a girdle which being put about him, he was straight transformed into the likeness of a greedy devouring Wolf.”

Stubbe, at his arrest, and threatened by torture, was led into a double confession – a combination of the witch’s pact, and having been a werewolf as the benefit of that pact. His coerced story (and whatever was subsequently added to it by the pamphlet’s author) mixes two story types. I have not read Montague Summers’ werewolf book, but I am stuck by the way that in these German stories of such creatures, transformation from human to animal form is not under the influence of the moon, but by use of a diabolic girdle, a ‘wolf-strap’, or belt:

http://www.pitt.edu/~dash/werewolf.html

The werewolf has full volition, chooses when to take that shape and kill.

It also interests me that in this pamphlet of 1590, two years before the English Faust book, and four years before Roma Gill’s suggested first performance of Marlowe’s Dr Faustus, what seems to be Marlovian language is being used. In the following extracts I highlight the ‘surfeit’ of sin, the ‘heavenly Helen’ who becomes his concubine – and it is also very striking that this sexual companion is so definitively explained as a ‘she devil’.

“Stubbe Peeter, who from his youth was greatly inclined to evil, and the practising of wicked Arts even from twelve years of age till twenty, and so forwards till his dying day, insomuch that surfeiting in the Damnable desire of magic, negromancy, and sorcery, acquainting him self with many infernal spirits and fiends, insomuch that forgetting y^e God that made him, and that Saviour that shed his blood for mans redemption: In the end, careless of salvation gave both soul and body to the devil for ever, for small carnal pleasure in this life, that he might be famous and spoken of on earth, though he lost heaven thereby…

… he so won the woman by his faire and flattering speech, and so much prevailed, y^t ere he departed the house: he lay by her, and ever after had her company at his command, this woman had to name Katherine Trompin, a woman of tall and comely stature of exceeding good favour and one that was well esteemed among her neighbours. But his lewd and inordinate lust being not satisfied with the company of many Concubines, nor his wicked fancy contented with the beauty of any woman, at length the devil sent unto him a wicked spirit in the similitude and likeness of a woman, so faire of face and comely of personage, that she resembled rather some heavenly Hellin then any mortal creature, so far her beauty exceeded the cheifest sort of women, and with her as with his harts delight, he kept company the space of seven years, though in the end she proved and was found indeed no other then a she Devil.”

This unequivocally diabolic bedfellow, that resembles ‘some heavenly Helen’, perhaps shows how the Faustus story began to gravitate quickly towards the demonological witch paradigm. In the Faust book, Helen is a spirit conjured up by Faustus “which near had inflamed the hearts of the students, but that they persuaded themselves she was a Spirit, wherefore such fantasies passed away lightly with them” (Chapter 45). The author’s moralizing comment then points towards the concealed nature of this simulacrum: “Wherefore a man may see that the Divel blindeth and enflameth the heart with lust oftentimes, that men fall in love with Harlots, nay even with Furies, which afterward cannot lightly be removed”, but even in Chapter 55, where Faustus brings her back in the 23^rd year of his pact, she is still not explicitly a devil. In this Faustus variant, Stubbe has to have committed demoniality like a witch, and in describing the beauty of the wicked spirit the devil sends him, the author thinks back to what was a latent meaning in the Faust book – and, perhaps, though the resemblances are not extensive or exceptionally idiosyncratic, recalls a portion of the play Christopher Marlowe was just maybe then writing piecemeal and showing around.

The pamphlet is completely vague about just how Stubbe’s third female companion was “proved and was found indeed no other then a she Devil”. I suppose that if it came up in his trial, it would have been a proof based on confession under threat. Supernatural things can be assumed to disappear readily enough: Stubbe’s girdle that allowed him to transform to animal shape (itself so like the magical bridle in The Late Lancashire Witches) is something he can’t show (or demonstrate!) in court, and that does get explained away: “which Girdle at his apprehension he confessed he cast it off in a certain Valley and there left it, which when the Magistrates heard, they sent to the Valley for it, but at their coming found nothing at all, for it may be supposed that it was gone to the devil from whence it came, so that it was not to be found. For the Devil having brought the wretch to al the shame he could, left him to endure the torments which his deeds deserved.”

My image comes from the Wikipedia, where members of the ‘Serial Killer Task Force’ are in dispute about this precise entry:

http://en.wikipedia.org/wiki/Peter_Stumpp

It shows the horrible mutilation, breaking on the wheel and beheading of Stubbe, his last attack (on the little girl in the high-collared coat), along with his daughter (partner in his alleged incest) and human mistress being burned alive. There is also a view of the special totem put up, with Stubbe’s head, his werewolf shape, the wheel on which he was broken, and sixteen pieces of wood dangling from in commemoration of his known victims.

Sion's downfallen breaches

I have been reading Joanereidos, or, Feminine valour eminently discovered in western women, at the seige of Lyme, as well by defying the merciless enemy at the face abroad, as by fighting against them in Garrison towns, sometimes carrying stones, anon tumbling of stones over the works on the enemy, when they have been scaling them, some carrying powder, other charging of pieces to ease the souldiers, constantly resolved for generality, not to think any ones life dear, to maintain that Christian quarrel for the long Parliament : whereby, as they deserve commendations in themselves so they are proposed as example unto others : with marginal notes on the work, and several copies of verses by a club of gentlemen on this authors year and half work / by James Strong.

This poem in commemoration of the courage of the women of Lyme [Regis] during the royalist siege of the town in 1644 eventually got to the press thirty years later.

It has to be said that James Strong was a very bad poet. Here, he describes how the women in the godly town undergoing siege rebuilt the defences, if a breach was made in the fortifications:

“This Amazon-like train vows ne’r to stoop
Being fled from Venus unto Mars his troop,
Where they with tumors, tost, Truths standard bear,
And Sions downfaln breaches strive to rear:
They stop the gap themselves…”

His religious enthusiasm is very apparent (and his Dorset accent):

“A saint-like sort of Females as before,
Earths broad Horrison till now ne’re bore.
From heaven are fallen, O let’s not be dull
To write their worth whereof the West is full.
New natur’d are they and their grace divine,
Come let’s embalm their faces, and eke enshrine
Their worth with honour…”

By 1674, Strong was safely established as having been on the wrong side. The volume in which his wretched poem appeared is extraordinary, as it is prefixed by a long series of savage mock-commendatory poems, vilifying the godly versifier (in detail) as a wife-beater, and for his ignorance, ingratitude, smelly feet, etc. He is represented as a writer who “with a mouth brim-full / Of spumy froth spits praises on that sex”.

The mock-commendations appear in a full comedy of macaronic language: burlesque Chaucerian and parody medieval French, take-offs of West Country dialect, Scots, obscene Welsh, and Latin. In several places, the gentlemen poets are reminded of the fun that was had when Thomas Coriat was being ragged for his Crudities, which supplies the model for extensive mock-encomiastic verse about a text considered badly written, but this time round carried out with an odium heightened by Strong’s politics, and because his praise was directed at the courage of lower class women.

Strong’s poem, when you finally reach the text, is also given a facetious annotation:

“Doth noble Portia or Lucretia* strive
For chastity this praise us to deprive…

*A Popish Roman Dame that stabd her self for one Raph. See The Knight of the burning Pestle.”

I quite like Lucrece as ‘Popish’ (because Roman), and the mock-reference to Beaumont’s comedy. Strong saw the besieged in Lyme as resisting the forces of the whore of Babylon, and annotator comments archly on his typically ill-considered phrasing:

“Who though the crimson whore** seek to deflowr,
And spoyl this Virgin vertue every hour.
Let each day testifie how they refuse
Her whorlsh proffers, and do rather choose

To sacrifice their blood to Christ their Bride,
Then with Romes Idols to be stuprifide.
This makes Romes beasts to foam with rage
'Cause we hold fast that knot of Marriage
With Christ our Husband, and will not defile
Our milk-white garments with his whoredoms vile.

** It seems this whore is an Hermophrodite else the feat could not be done.”

The courtier poet Sir Aston Cokain, in his A chain of golden poems embellished with wit, mirth, and eloquence : together with two most excellent comedies (1658) also has another stray mock commendation, very much in the same vein:

“As Coriate did exceed for writing Prose;
So thou for penning an Heroick Song
Dost all surpass; In meeter being James Strong...”

http://www.lymeregismuseum.co.uk/rebellion.htm

Squandering the philosopher's stone

Searching EEBO for something else, I recently came back across Johann Joachim Becher’s Magnalia naturae, or, The philosophers-stone lately exposed to public sight and sale being a true and exact account of the manner how Wenceslaus Seilerus, the late famous projection-maker at the emperours court at Vienna, came by and made away with a very great quantity of pouder of projection by projecting with it before the emperour and a great many witnesses, selling it &c. for some years past / by John Joachim Becher : published at the request, and for the satisfaction of several curious, especially of Mr. Boyl &c. (1680).


Re-reading this work, purportedly written to gratify the interest of Robert Boyle (no less), I was again struck by its indeterminate genre. The ‘true and exact account’ reads truly and exactly like a tale of Baron Munchausen, or a winning entry in a lying contest. A fraudulent narrative from an author tainted with fraudulence, Magnalia naturae purports to be a narrative both from personal witness and personal inquiry, but has every air of a free-wheeling invention.


As the narrative tells it, the subject (or rather hero of this fiction), Friar Wenceslaus, was forced into the monastic life, and was determined to buy his way out. He hears his fellow monks speak of a treasure buried their monastery, learns the magic art from a cow-keeper’s wife, and acquires a magical ball of wax (which will roll towards any buried treasure) from a woman who doesn’t herself seem to have made any use of it. Wenceslaus recruits an older monk, already a cabalist, to help him try its effectiveness. When the magical ball of wax finally activates, it runs to a particular pillar. Well, they cannot demolish the church, but their luck holds, because an opportune tempest does. Inside the wrecked pillar they find a copper box, which they secretly carry away. To Wenceslaus’s disappointment, it only holds papers and four boxes of red powder. The narrator (whom we have to assume is Becher testifying to all this), intervenes at this point:
“he found a piece of Parchment, on which there was some Inscription and Writing: I once had a Copy of it, but I lost it amongst my other Letters … I do also remember, That amongst other Writings, there was this Motto, AMICE, TIBI SOLI, which I English thus, Friend, to thy self alone. Under this Parchment there were other Letters laid, marked with Characters, which contained Directions how to multiply the Powder, as the Inscription shewed: and under them there were four Boxes full of a red Powder.”


(He used to have a copy, but lost it! This careless narrator will soon forget that instructions for making more of the powder were included in the box, the rest of the story depends on Wenceslaus’ inability to produce any more.)


At the opening of the copper box, Wenceslaus does not himself recognize that this is the philosopher’s stone, something which was expected by alchemists to be a heavy and fragrant red powder, but the older monk does. To test it, a pewter plate is folded into a crucible, then a knife’s point of the powder added: “As soon as ever the Powder was cast in, the Pewter stood still, came to a suddain Congelation. Then the Fire was suffered to go out, and the Crucible to wax cold, which being broken, there was found a ponderous mass of Metals, very yellow and variegated with red lines”. A goldsmith later re-melts the mixture, and produces a small gold ingot, which he gladly buys for £20.


The older monk then becomes the first of a series of convenient deaths which enable the feckless Wenceslaus to get away from intellectually superior operators. He ends up being chased from state to state by princes who are each keen to secure permanently the cooperation of this veritable gold-egg-laying goose, by imprisonment if needs be. Though he is capable of using the powder to project gold, Wenceslaus cannot manage to augment his stock of the powder (despite the instructions on how to do just this), and is determined to hang on to what he has. At one point, a pushy crony he has acquired proposes that they feign inability to project gold so as to keep all the powder for themselves: “we may both be sheltred under the Continuance of the Emperors Protection, and yet we may keep the Tincture; And after the time designed for its augmentation is elapsed, we will easily devise some colorable Excuse, to evade it; as, That the Glass was broken, or some Error committed in the Operation. For, the Truth is, (said he) The Emperours Court is not worthy so great a Treasure; it will be Prostituted there and made common.”


This co-conspirator also dies, and so Wenceslaus does put himself under the protection of the Emperor (meant to be Leopold I). But he proves a troublesome artist-in-residence, and, having made a pest of himself, maneuvers to get his own separate quarters:

“In the mean time he both desired to be acquainted with some noted Chymists and eminent Artists, and several Imposters and Sophisters intruded themselves into his acquaintance, so that from thence resulted very frequent junketings, drinkings and merry meetings, and many foolish trifling Processes wrought by him; from whence F. Wenceslaus learned rather several cunning and subtil Impostures, than any real augmentation of his Pouder: But the noise & multitude of so many Importunate Visitants, being cumbersom at Court, where F. Wenceslaus had his Diet, under the severe inspection of Count Wallestein, he thereupon pretended, that he had occasion to make some sorts of Aqua Forts and other Menstruums, which would be dangerous to the whole Court, and cause such noysom Fumes and odious Smells, that they could not safely be prepared in that place; therefore a Laboratory was built for him, in the Carinthian Fort.”


For a while, Wenceslaus has it made, but he is spending lavishly, and his philosopher’s stone doesn’t seem to be capable of curing the venereal disease he also acquires:

“Fr. Wenceslaus being linked by Marriage into such a Family, did then fancy for a time, That all the Elements did conspire together to make him happy: for why? he was visited by Persons of the highest Rank, and withal was mightily respected by the most eminent Ladies, Countesses and Princesses: As for me, as Spectator of this Scene, I considered him in this Fools Paradise: Whilst it put me in mind of Cornelius Agrippa, who, in his Book of the Vanity of Sciences, under the Title of Alchymy, sayes, That if ever he should be Master of the Tincture, he would spend it all in nothing but in Whoring; for women being naturally covetous, he could thereby easily make them to prostitute themselves, and to yield unto his Lust. And it seems that not only F. Wenceslaus was so mighty a Proficient and so stout a Souldier in the School of VENUS, That he was brought very low by the French Disease, but also that his Wife Angerlee dyed of it. After whose decease Fr. Wenceslaus exceeded all Bounds of honest Modesty, and dayly let loose the Reins to all sinful and voluptuous excesses: for from that time he had obtained the Tincture, he spent in two or three years time more than Ten Myriads of Crowns, in all manner of Luxury: and he foresaw well enough, that it could not last and subsist long at that rate: for the Tincture would not maintain him. And to turn it into Gold, or sell it for a small price would turn to no Account, as he had alwaies hoped it would by Augmentation, and thereby to gain an inexhaustible Treasure.”


Still incapable of augmenting his powder, and running through his money, Wenceslaus ends up selling counterfeited versions. So, what is this work? It appears to be an entertaining fiction, pranked out with a collection of recognizable names. If Becher was really behind it, it might be an indirect explanation of how you might actually possess the philosopher’s stone, but still end up behaving like a charlatan and a trickster. This might have been a point Becher himself was sometimes pressed by circumstances to argue.


What is interesting is the close adjacency here of racy fiction: Wenceslaus is a picaro, a scapegrace hero always motivated by profit or women. He has no expertise, he is just a survivor. Like Epicure Mammon, possession of the long sought philosopher’s stone means only augmented power to buy sex.

http://en.wikipedia.org/wiki/J._J._Becher

http://uh.edu/engines/epi293.htm

http://www.rexresearch.com/alchemy5/becher.htm

A bad start to 1609 at the Sign of the Firebrand

A bloudy new-yeares gift, or A true declaration of the most cruell and bloudy murther, of maister Robert Heath, in his owne house at high Holbourne, being the signe of the fire-brand (1609) is a typical murder pamphlet: heavy on the moralizing, slow to probe motive, and generally content that someone has been made an example of on the gallows.

What is rather thrilling about the little book is the intense domestic detail the anonymous author supplies: read it, and you are back there in the early morning of January 1^st 1609, in a crowded house that is utterly dark, utterly cold, and murderously divided.

Master Robert Heath was a cook, Rowland Cramphorne was his tapster, so the business obviously extended to a complete catering in food and drink. It is clear that Master Heath drank: he was one that ‘kept much companie’, and on the fatal night, he came home at about 9pm ‘somwhat disguised in drinke’ and fell asleep in front of the kitchen fire. His wife is all too used to this, and always has her maid put a table against their bedroom door. She tells the court that this would alert her to her husband coming into the room late at night, but it sounds more like her regular way of keeping him downstairs. Upstairs, at midnight, a gentleman lodger wakes up both cold and thirsty. He calls for Rowland, who alleges that there are no faggots left in the house. Briefly, they contemplate going out, even at this late hour, to find drink and a fire, but in the end the gentleman decides to make do and shiver on through the night.

At 2am, the maid retired upstairs to her mistress’s room, leaving Rowland and her master below. Rowland shares a bed in the house with a boy. The narrative asserts that he had made this boy drunk with ale and sack, the boy certainly doesn’t seem to know when Rowland retired or got up again. But in this chilly and drink-stupefied household, at some point in the night, ‘the devil prevailed so farre with him, to doe that horrible deed of darkness'. A candle the maid had left by her master was a quarter burned at the time of the murder, and extinguished upside down its holder.

Next door, a joiner, his wife and their lodger are huddled in one chamber: between two or three in the morning, they hear ‘a great noise in Master Heaths house, as it were the fall of stooles or Chaires’. Nobody in the Heath household seems to have heard this, and next door, they just decide that their neighbours are making an early start on their pie making for New Year’s Day. The room they are in is adjacent to Rowland’s, and the partition so thin that the late night opening and closing of his door shakes their bed.

At five am, a barber’s maid comes to the house for fire, but finds the main door shut, at 6am the maid descends, gropes about in the dark till she finds the candle on the dresser (how did she know that it had not burned down and gone out?) relights it, and discovers the body. She goes and wakes Rowland with the news that ‘he knew too well’.

The ‘outcry of this murder being made’, the Joiner, even then on his way to a morning lecture at Christs-Church (a sermon, of course), diverts into the house. Heath was not quite dead, but dies as they try to lift him upstairs.

Rowland, Heath’s wife and the maid all assert that they have no idea who did the murder: the house doors, they say, had been left wide open in the morning, as if the murderer had departed that way (they clearly hope to incriminate either the drinking companions who had returned to the house with Heath, or others who had been upstairs with the gentleman).

Under examination, though, Rowland is found to have in his pocket money with blood upon it. He claims that he was bloodied in lifting his master, but the pious joiner from next door denies that Rowland had helped. A ‘fire fork’ is found to have a drop of blood upon it (Rowland later confesses, rather, that he had hit his master with a 'double jug').

The narrative now shifts to immediate motive: the day before, Heath, out drinking, had sent home for more beer: but each time he asked, his tapster had denied him. Heath had even sent money back home to pay for the beer from his own business: Rowland had still refused. Rowland had reportedly been struck by his returning master (this would be on the morning of New Year’s Eve), and dismissed.

The Jury finds all this enough, Rowland was convicted, drawn on a hurdle to his own street, and hanged on a gibbet ‘set up at Graies-Inne lane end, somewhat neeere unto the house where the murder was committed’ (this was on the 21^st February 1609).

Rowland’s behaviour at the gallows was interesting, to say the least: “where being by good and godly preachers dealt withal, to cleare his own conscience, & deliver the truth in so doubtfull a case, whether any other had hand or no with him in the action: he would heare no speeches concerning his mist[ress] or the maid, but cleared them [as?] much as he could, taking al upon himself: & loath to hear any further admonishment, which with love and much charity was laboured unto him: when he was willed to make no haste, but take time to his own liking, putting one legge beside the ladder, and they calling him yet to stay, yea, the hangman offering to holde him by the choler of his doublet, he desperately threw himselfe off, not willing to listen to any further good counsel.”

I take it that these suspicions were basically correct. A tapster surely would not have refused his own master drink, even with money offered, unless put up to it by his mistress. Heath and his cronies were drinking the profits, his wife was sick of his drunken returns to their bedroom. When the maid looks for and lights the candle she had left burning by her master the night before, she finds what she had half expected from the bangs in the night they had been careful not to hear, and knows who to go to. I suspect, too, that the two women distanced themselves from the man who had carried out the murder and took all the blame (even to the point of speeding his own death for fear that he might blab something out). For the little pamphlet begins with an odd, and unsubstantiated account of Rowland Cramphorne’s bad character, a tale of a girl (anonymous in an otherwise quite specific text) he had seduced and deserted, who had predicted that he would come to a bad end. ‘All these imputations now dye with him’ says the pamphleteer, who might just be trying to signal that there’s another story beside the officially accepted one, mentioning in passing ‘what hath bin said concerning his Mistresse’…

But cold, dark, crowded early modern London!

Francis Quarles and the nappy of his saviour.

Francis Quarles, who was (just about) the most popular poet of the first half of 17^th century, and his wife Ursula Woodgate had eighteen children together. So when he came to write ‘On the Infancie of our Saviour’ in his Divine Fancies (1632), he knew a thing or two about babies and infants, and it is clear that he loved them:

Hayle blessed Virgin, full of heavenly Grace,
Blest above all that sprang from humane race;
Whose Heav’n-saluted Womb brought forth in One,
A blessed Saviour, and a blessed Son:
O! what a ravishment t’had beene, to see
Thy little Saviour perking on thy Knee!
To see him nuzzle in thy Virgin Brest!
His milke white body all unclad, undrest;

To see thy busie Fingers cloathe and wrappe
His spradling Limbs in thy indulgent Lappe!
To see his desprate Eyes, with Childish grace,
Smiling upon his smiling Mothers face!
And, when his forward strength began to bloome,
To see him diddle up and downe the Roome!
O, who would thinke, so sweet a Babe as this,
Should ere be slaine by a false-hearted kisse!
Had I a Ragge, if sure thy Body wore it,
Pardon sweet Babe, I thinke I should adore it,
Till then, O grant this Boone, (a boone far dearer)
The Weed not being, I may adore the Wearer.

The infant saviour perking, nuzzling, spradling and (best of all) diddling up and down the room isn’t without parallel, of course, in accentuating the word made flesh: but two of these words are first occurrences in the OED (‘diddle’ and ‘spradling’ under ‘spraddle’). Quarles is letting us in to see a baby-related vocabulary previously excluded from more restrained literature.

But, more radically still, it’s hard to avoid the thought that, when Quarles expresses the wish for one of the rags the baby Jesus had once worn, he really does mean one of the baby Jesus’ ‘tail clouts’, one of the divine nappies. Americans would say diaper.

I can imagine purported relics of the saviour’s infant clothes existed in the medieval period. Quarles writes, though, as a doting sentimentalist, and was far from being a Catholic. In a related poem in the same collection, he explains the curing of the woman with the issue of blood as a product of faith, not as coming from any miraculous property in the garment she touched:

‘On the Woman with the Issue.’

How could thy Soule, fond Woman, be assur’d
Thy long disease could be so eas’ly cur’d?
What? couldst thou think the touch of cloth was good
To dry the Fountaine of thy flowing Blood?
Or was't because our blessed Saviour wore it?
Or why? I read not, that thou didst adore it:
He nere so much as ownd thee, Woman: Sure,
Thy Faith, and not his Garments wrought the Cure.

‘Divine Fancies’ is entirely appropriate to Quarles’ religious poems: like ‘French Fancies’, they are sweet light cakes of poems, iced all over with fanciful designs, words and thoughts. Here he starts off on the Day of Judgement:

O When shall that time come, when the loud Trump
Shall wake my sleeping Ashes from the Dump
Of their sad Urne! That blessed Day, wherein
My glorifi’d, my metamorphiz’d Skin
Shall circumplexe and terminate that fresh
And new refined substance of this flesh!
When my transparent Flesh, dischargd from groans,
And paynes, shall hang upon new polisht Bones!
When as my Body shall re-entertaine
Her cleansed Soule, and never part againe! …

Who could resist the thought of resurrecting with newly polished bones? No wonder readers liked him: only Quarles could think of comparing the various kinds of sin to England’s various types of bad weather:

On severall Sinnes.

Grosse Sinne.

Is like a Show'r, which ere we can get in
Into our Conscience, wets us to the skin:

Sin of Infirmity.

Is like the falling of an April Shower;
'Tis often Raine, and Sun-shine, in an hower.

Sin of Custome.

Is a long Showre, beginning with the Light
Oft-times continuing till the Dead of Night.

Sin of Ignorance.

It is a hideous Mist, that wetts amaine,
Though it appeare not in the forme of Raine.

Crying Sin.

It is a sudden Showre, that teares in sunder
The Cope of Heav'n, & alway comes with Thunder.

Sin of Delight.

Is like a fethered showre of Snow, not felt,
But soakes to th' very skin, when ere it melt:

Sin of Presumption.

Does like a Showre of Hayle, both wet and wound
With sudden Death: or strikes us to the Ground.

The Sin of Sinnes.

It is a sulph'rous Shower, such as fell

On Sodom, strikes, and strikes to th' Pit of Hell.

My nativity scene is from Jeremy Taylor’s Antiquitates christianae, or, The history of the life and death of the holy Jesus (1675).

Herbert's dolphin

“O what a sight were Man, if his attires
Did alter with his minde;
And like a Dolphins skinne, his clothes combin'd
With his desires!”

A quatrain from George Herbert’s ‘Giddinesse’ which recently brought me to a halt. Editors rely on F E Hutchinson’s 1941 text, and the magisterial but un-footnoted footnote, “like a Dolphin skinne. Not the mammal like a porpoise, but the dorado (Coryphaena hippuris), popularly called a dolphin, a fish like a mackerel; its metallic colours undergo rapid changes on its being taken out of the water and about to die, but it cannot be inferred that the changes have any relation to its desires.”

Here’s a 17^th century source to substantiate Hutchinson: “The Dorado, which the English confound with the Dolphin, is much like a Salmon, but incomparably more delicate, and hath smaller Scales”. This is from Adam Olearius, The voyages and travells of the ambassadors sent by Frederick, Duke of Holstein, to the Great Duke of Muscovy and the King of Persia begun in the year M.DC.XXXIII. … Whereto are added the Travels of John Albert de Mandelslo (a gentleman belonging to the embassy) from Persia into the East-Indies ... in III. books ... / written originally by Adam Olearius, secretary to the embassy ; faithfully rendered into English, by John Davies (1669).

But for all I know Hutchinson might have been, or talked to, a game-fisherman, for the dorado is still apparently referred to as the ‘dolphin fish’:

http://en.wikipedia.org/wiki/Mahi-mahi

Henry Vaughan can be tracked tracking Herbert, in the characteristically more diffuse reference in his poem, ‘The World’, where he scorns the world by telling it:

Thou art not Truth; for he that tries
Shall find thee all deceit and lyes …
… And when not so, then always 'tis
A fadeing paint; the short-liv’d bliss
Of air and Humour: out and in
Like Colours in a Dolphin’s skin.
But must not live beyond one day,
Or Convenience; then away.

Vaughan makes the idea of rapidity of change more explicit than Herbert. Hutchinson says of these rapid alterations “it cannot be inferred that the changes have any relation to its desires.” The hidden relation, if we have to find one, must be that these changes are linked to death: the dorado loses its gilded coloration when hauled out of the water. Herbert’s perpetually altering humanity, pursuing desires so fatal to salvation, needs God to intervene to escape death. ‘Giddinesse’ ends with the prayer:

“Lord, mend or rather make us: one creation
Will not suffice our turn:
Except thou make us dayly, we shall spurn
Our own salvation.”

But I always tend to read Herbert looking for the satanic verses, for the poetry which responds secretly to the pleasures he spurns so dutifully. Dolphins and pleasures in such proximity suggest an echo of a far-greater piece of poetry, one in which the dolphin features as an ecstatic animal:

“His delights
Were dolphin like; they shew’d his back above
The element they liv’d in.”

Cleopatra’s tribute to Mark Anthony, humping along in the ocean of merriment: “O, such another sleep, that I might see / But such another man!” Her inimitable celebration of a man as ‘nature’s piece’ is the ideological opposite to Herbert’s principles. Anthony as marvelously unrestrained brings me to the source of my woodcut image, Thomas Combe’s, The Theater of Fine Devices (1614)] (Combe was translating Guillaume de La Perrière).

The emblem here is of intractability, and applied to women this time: dolphins are as unhappy about being taken from the water as women are if deprived of their will:

A wanton woman and a light,
Will not be tam'd by art nor might.
With greater ease the Dolphin is restrained,
Then wanton women bridled of their will,
Who from their purpose cannot be constrained.
They are so full of craft and subtle skill:
Well may they boast what guerdon they have gained,
That can subject their wives unto their will;
For oft the air of a woman’s smock,
Withstands alone the bonds of chaste wedlock.

This said, the last couple seems to circle back round to the intractability of male desires (a smell-smock seeks out other women: “Platonick love! Say Plato kept a whore, / And lost his smell-smock nose by th' French disease” scoffed Nicholas Hooke).

But, revenons à nos moutons, that ‘dolphin’ in the woodcut looks far more fish than mammal, and illustrates the initial confusion of creatures. But I still wonder if the skin of the (mammalian) dolphin doesn’t change when it dies? Is George Barker really talking about a dorado here, for instance?

What I see, then, with
that cloud my witness is
not shapes of the mind or wind
like the slow rainbowings
of the dolphin’s skin as it dies
but, as though from the cloud
I saw my bone walk the shore,
the theology of all things.

George Barker, from ‘In Memory of David Archer’ (1973)

My photograph of the cruelly gaffed dorado comes from
http://www.pelagic.co.uk/programme/ryastory.htm

400 years ago today: John Milton

Two dangerous pets from 'Zeno'

The last week of my teaching term, and while I have launched myself half-heartedly at EEBO’s selection of the pamphlets of Cotton Mather, I have no real zest to write anything about that strange and conflicted man.

But I did come across the German site, zeno.org, with its many, many online, large format, images from early modern art. I have been looking at more graphic works by Hans Baldung Grien than I’d ever seen before. As parrot owner, I have selected his African Grey. With it, a very dangerous ‘cryptid’, as the always fascinating ‘TetZoo’ would call it:

http://scienceblogs.com/tetrapodzoology/

a kind of walrus/iguana mashup, here ridden by an intrepid putto. Here's the TetZoo's closest match:

http://scienceblogs.com/tetrapodzoology/2008/09/longnecked_seal_described.php#more

Hans Baldung drew just about anything: seals, armour, landscapes, post-coital lovers, and many studies of heads and faces. I was interested by the way that his children’s faces could have been drawn in the 20^th century, yesterday really, while his studies of adult faces all seem to be of recognizably Northern Renaissance people.

Back to the point, which is to recommend the Zeno site:

http://www.zeno.org/Kategorien/T/K%C3%BCnstler

http://www.zeno.org/Kunstwerke

The demoniac's jet ring

I have been re-reading Samuel Harsnett’s famous Declaration of Egregious Popish Impostures (1603). For all that he somehow became a bishop in the 17th century English church, Harsnett writes like a good modern journalist: worldly, scathing, and unhampered by piety in giving his astute account of just who was possessed, and by what unworthy feelings, amid the overheated goings-on in Denham, Buckinghamshire.


As Jesuits (and a fellow ‘demoniac’) circle – with very mixed motives - around poor abused Sara Williams (who is just 15), the man she actually seems to want in her life gets a surprise mention:


“Whilst she was in the priests hands at Denham, one Haines was suter unto her, and although Ma: Dibdale commaunded her in no sort to entertaine him, yet her sister bringing unto her a blacke Iet ring from him, as a token, she put the same upon her little finger, which being some-what too little, caused her finger to swell, as she now beleeveth: And there-upon this exam(inate) in her confession acknowledging that she had received that ring from Haines contrary to Ma: Dibdales commaundment they said it was the devil under the ring, that caused her finger to swell: and wetting her finger, and making crosses upon it, they pulled of(f) the ring little by little, and said, that it came of(f) by virtue of those crosses, the devil having no longer power to keepe it on” (pp. 186-7).


Sara Williams is one of the few 17th century recipients of a jet ring who seem happy to wear it without mocking comment on the poverty of the gift. Hopelessly trapped by Weston, Dibdale and the rest (when she says she wants to go home, they explain that her words are just the devil talking), Sara defiantly jams the undersized ring on her smallest finger. Perhaps it was spotted by the jealous Dibdale, who is so unhealthily preoccupied with the demon Maho and his residence in Sara’s ‘secretest parts’, and can’t bear to share her, or Sara herself was troubled by the finger swelling up. At confession, the full story of the jet ring comes out, and the priests manage to get it back off her finger, and then ignore their physical difficulties and practical solutions in doing so, to attribute this victory over the devil to the power of prayer.


Rings are so pervasively sexualized in 17th century literature that the episode seems expressive of the unacknowledged sexual rivalry between the exorcist and the suitor.

When Stephen loses his purse in Every Man in his Humour, he regrets the loss of just such a small token with callow bawdy:
Stephen. Oh, it's here: no, and it had beene lost, I had not car'd, but for a jet ring mistris Mary sent me.
Edward Knowell. A jet ring? oh, the poesie , the poesie ?
Stephen. Fine, ifaith! ‘Though fancie sleep, my loue is deepe’. Meaning that though I did not fancie her, yet shee loued me dearely.
Edward Knowell. Most excellent!
Stephen. And then, I sent her another, and my poesie was: ‘The deeper, the sweeter, Ile be iudg'd by St. Peter’.


The Duke of Newcastle’s play, The Triumphant Widow, has a scene modeled on the Autolycus scenes in The Winter’s Tale, in which jet rings are part of a pedlar’s pack, and are snapped up by country folk:
1 Man. Come, honest Pedler, up with your Pack, and follow us, we'l make you welcome i'faith. Gervas. We'l buy all his Trinkets to the last Jet Ring, or inch of Incle, we'l hamper him i'faith, we'l leave him nothing.
Footpad. Bless you, bless you till I complain.


I don’t think that, when I was annotating Donne, I had realized just how often jet rings had a ‘poesie’ inscribed; Donne’s speaker interrogates the meaning of the ring, and finds it in the shape and nature of the material, not in any engraved distich (‘A Jet Ring Sent’):

Thou art not so black, as my heart,
Nor halfe so brittle, as her heart, thou art;
What would'st thou say? shall both our properties by thee bee spoke,
Nothing more endlesse, nothing sooner broke?

Marriage rings are not of this stuffe;
Oh, why should ought lesse precious, or lesse tough
Figure our loves? Except in thy name thou have bid it say
I'am cheap, & nought but fashion, fling me'away.

Yet stay with mee since thou art come,
Circle this fingers top, which did'st her thombe.
Be justly proud, and gladly safe, that thou dost dwell with me,
She that, Oh, broke her faith, would soon breake thee.

How poignantly charged is that use of the ring as a measure of their different physical sizes! But, petite as she is, she has vanquished him.


My image is lifted from: http://www.whitbyjet.net/definition.html I was told years ago that the residual veins of Whitby jet are all too thin to support production of any more jet rings, which have to be cut across the fine laminar grain to have any strength at all. These people own perhaps one of the last pieces thick enough to work that way. That's a pound coin in front of the sample: I'd measure one now, but happen to be light of purse. The vein looks to be about 3-4cms thick. What would a jet ring cost you now?


Jet rings do not seem to have survived very well, but this antique jewelry dealer recently sold a Victorian example:

http://www.mimideeartwear.com/catalog/Archives:Estate_Jewelry:Silver:Victorian.html

Robert Crofts cites Donne as he gives up on love, 1641

My down-time reading this week has been Robert Crofts’ The way to happinesse on earth concerning riches, honour, conjugall love, eating, drinking / by R.C. (1641). I suppose I was interested in how this author would present his message in his puritanical times.

Crofts has the (admittedly faint) merits of being without any exceptional qualities as a writer. What he thinks, he gets from the culture round him. As he compiles his ‘own’ opinions, he gets into the usual difficulties of the 17^th century minor writer who follows and diligently reproduces the diversity of views he finds available: that veering round from pro to contra, the uneasiness as, for instance, he expounds the merits of being in love, for fear that this section of the discourse might be taken for his settled opinion. “I could willingly turne backe, and teare those former Love discourses out of my booke, in contempt of your frailties and vanities, were it not for their sakes, who are indeed true-lovers”, he says to women at p.247, when he has completed the transition into the thundering denunciation of marriage and women that he was evidently itching to write all through his earlier section in praise of honest love and conjugality.

Those love discourses are interesting: for Crofts sketches out the type of thing he thinks his decent male wooers ought to say to their ladies. Anticipating Dryden on Donne, he thinks it “folly to study, sing and talke to them in high straines of wit, and figurative exornations, lest they be not understood, and so perchance laughed at. But in this respect a plaine, yet artificiall, pleasing, materiall, moving, and convincing way is best”. Having said that the male wooer must not ‘study’, within a few pages Crofts expounds on how his sex must “by often and serious meditation to imprint into our minds, the grounds and heads thereof, As Numbers, Particulars, Observations, Arguments, Examples, Comparisons, Contrarieties, Similitudes, Effects, Appendances, Circumstances, and the like, as perfectly as we doe our A, B, C … as Preachers doe especially take notice, and imprint into their minds, the heads, divisions, and grounds of their Sermons” (p.208).

This sounds like badly over-egging the cake, as the training of the University and Inn of Court is laboriously deployed to win fair Lady. Now Crofts tends to write as though he is happy just to keep on covering the pages, so there may not be much in it, but if you think of all those plays in which a male wooer is ridiculed either for being tongue-tied, or speaking in a manner that lacks decorum (fitness to the person addressed), well, maybe the pressure was on men to develop a wooing discourse – ‘and as for the form, in some form’, as the clown puts it in Love’s Labour’s Lost. Perhaps women too, starved of education, took some pleasure in being the recipients of such studied and rehearsed addresses, the compliment of a higher style.

Crofts offers the kind of reheated material he thinks suitable for when the lover gets onto the topic of time: “He tells her, that to enjoy such pleasure but one hour or a day, were enough to possess the heart with marvelous joy; yea, although that houre or day were halfe a yeare hence, yet the imagination of it in the meane time, is sufficient to possesse us with very sweet pleasures till then.”

Crofts, in writing his section on love discourse, often seems to have poems somewhere in the back of his mind. He quotes quite a few pieces of verse. I could not locate sources on LION, and didn’t look very hard, because I suspect that in most cases Crofts either quotes from memory or has rewritten the poem in simpler terms. On p. 107 he says how ‘the Poet hath a Song in his Comedy, which with some alteration of words, and to another tune thus it goes’: I think he offers his own very watered-down version of the song in Jonson’s The Devil is an Ass: “So soft, so delicious, / So dainty, so sweet, so fine, / As the honey from the Bee, / is not halfe so sweet to me, / As is one sweet kisse of thine”.

But Crofts makes just one attributed quotation, and it pleased me to find it, as I have just gone through my annual tangle with John Donne as a subject for undergraduate lectures. Crofts at this point is about to switch onto the boundless topic of misogamy, how it is ‘observable that many men are commonly more sullen, dull, sad, and pensive after marriage than they were before”, and say much about the joys of “we Batchelours” (p.219). In this context, at this very point of transition, he quotes Donne’s ‘The Triple Foole’. I have it in the page image above, but he says that he knows “some very wise men indeed have confessed it to be a folly to love, and to write thereof, &c. As one of the most famous of them saith in one of his Poems,

I am two fooles I know,

For loving, and for saying so,

In whining Poetry;

But where’s the wise man

That would not be I,

If she would not deny, &c”

And, to the side of the passage, “D. I. Donne”. It's interesting that Donne crops up here. The poet might, of course, have provided material for the discourse of love, or been cited against women, but Crofts places him just on the cusp, rueful self-reproach, an admission of still having a yearning.

After this, Crofts, up and running, denounces women and marriage, until the point when he gets onto ale-house libertines (who essentially have a cruder version of the same discourse, in a language of cuckoldry and cuckold-making) of which he then lengthily disapproves.

Maybe one day I will return to Crofts for his similarly mingled praise and dispraise of drinking, a precarious attempt to find a point of balance between condemnation and indulgence. And in the end, that's his interest to the reader: in 1641, a not very talented man felt impelled to try to argue for a middle way, a tempered epicureanism. But even as he does so, he ventures to all extremes.

Guess the phase of the moon from your cat's eyebrows...

‘Receit’ number XXXVII in John White’s A rich cabinet (1651, see my prior post), ‘How to know both the Increase and Decrease of the Moone’.

White first tells us that, if you have one, you can look into a piece of Arabian selenite (‘within the bodie of this Stone the Moon sheweth her selfe’).

Or, more immediately available in the normal household:

“Our common house Cats also have this propertie by the subjection that the Moone hath over them; that their Eie-browes doe increase, or decrease each day, according to the course of the Moone and her aspects; which thing is dailie seene to him that pleaseth to note the experience thereof.”

While you run this fabulous assertion by your own range of experience with felines, my image is a composite one, showing some of the more feasible devices, tricks and gags described by the amiable Mr. White.

White is (rather winningly) interested in lying in bed but being able to know things: a small angled mirror in your window might, for instance, project a sun beam across your ceiling, where you have, by prior observation, drawn a dial of the hours. He thoroughly approved of the way King James (not everyone’s candidate to be quickly out of bed after a particularly heavy masque the night before) had a weathervane on the roof of Whitehall Palace, which connected by a shaft to a pointer that moved on a mariner’s compass rose painted on his royal bedroom ceiling.

The device top left explains itself really: you use a regular candle size and height as your night light, always set in the same place. The shadow it casts on your artful table of the hours up on the wall will give you a good idea of what time of the night it is, should you you wake up and want to know.

Below that, the confounding wonder of the cantilever, and a light lure for nocturnal fishing made with a candle in a floating urinal flask.

On the right hand, the chap in the top picture is able to read the cards he is holding above his hat brim because he has surreptitiously dropped a spot of drink on the table to act as a tiny mirror, and has the candle at the right angle. Than there’s a thermometer with coloured water and a suitably basic calibration of 12 different degrees (the higher up the tube, the colder it is), and a reading light like lace makers used.

A conjuring trick he mentions which you could try involves making the signature you have inked onto a piece of paper that is then burned to ashes reappear on your arm: sign your arm with a fresh pen inked with urine, let it dry, do the paper signing and burning, then rub the ashes on your arm to make the signature seem to reappear. More challenging to undertake is a stunt that involves washing your hands in boiling lead without any risk. Having anointed your hands with an ointment of quicksilver, bol armoniak, camphire and aqua vitae, you can, at the very least, dip your finger in, and no harm done…

There is some jolly early modern sport to be had in tormenting animals (top tricks to play on ducks here folks), and a splendid way to clean up your old oil paintings by bathing them in vinegar, then rubbing them hard with a pad of brick dust tied up in linen, finally leaving them outside in bright sunlight. Brings them up like new, apparently. Must recommend it to the curators of the new Medieval and Renaissance galleries projected for the V and A:

http://www.guardian.co.uk/artanddesign/2008/nov/13/v-a-museum-ceramics-gallery

I was recently reading Roy Strong’s descriptions of portraits of Sir Walter Ralegh, where he considers none of the original paint surface to survive at all. No wonder, if this was how they scoured off old varnish.

Early modern fireworks

A composite image from the illustrations in the 1658 edition of John White’s A rich cabinet, with variety of inventions: unlock'd and open'd, for the recreation of ingenious spirits at their vacant hours Being receipts and conceits of several natures, and fit for those who are lovers of natural and artificial conclusions. As also variety of recreative fire-works both for land, air, and water. And fire-works of service for sea and shore. Whereunto is added divers experiments in drawing, painting, arithmetick, geometry, astronomy, and other parts of the mathematicks. Likewise directions for ringing the most usual peals, that belong to that art. Collected by J. W. a lover of artificial conclusions (editions from 1651).

(Who wouldn't be 'a lover of artificial conclusions'?)

These are all from John White's section, ‘The Schoole of Artificial Fire-works’, and show a dragon running along a fixed rope, a burst of silver or golden ‘snakes’ descending from the sky (the explosive mixture for these was packed into the thick end or calamus of goose quills), St George confronting the fiery dragon, a Catherine Wheel that rotates one way, and then the final rocket, on burning out, ignites the rockets on the other side, so that the wheel reverses, a fixed wheel for a mass launch of ‘fisgigs or serpents’, and rocket construction, launcher and payload.

The fireworks sound pretty good: for stars of a blue colour with red descending from your rocket: ‘of Salt-peter four ounces, and of Sulphur vive twelve ounces: meal these very fine, and mix them together with two ounces of Aqua vitae and half an ounce of the Oyl of Spike, and let it be dry before you use it.’ Nut-sized balls of the composition, wrapped in paper, are placed in the top cone of the rocket. Or, ‘If you will have a beautiful white Fire, take four ounces of Powder, twelve ounces of Salt peter, six ounces of Sulphur vive, and half an ounce of Camphire.’

“To make the golden Rain, you must get store of Goose-quils and cut them off next the feathers, and fill these quils hard with the same composition ... If it were possible to put a thousand of these quils upon the head of a Rocket, it were a dainty sight to see how pleasantly they spread themselves in the ayr, and come down like streams of gold much like the falling down of Snow.’

‘Oooh!’ and ‘Aaww!’ and ‘My thatched roof!’