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The True Story vs. Myth of Witchcraft. William Godwin
Читать онлайн.Название The True Story vs. Myth of Witchcraft
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isbn 4064066051808
Автор произведения William Godwin
Жанр Языкознание
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‘Of whom if I the namès calle,
Hermes was one the first of alle,
To whom this Art is most applied.’
The name of Hermes was chosen because of the supposed magical powers of the god of the caduceus.
6. That is, costard, or apple, mongers.
7. See Appendix to the present chapter, p. 58.
8. The pentageron, or pentagramma, is a mystic figure produced by prolonging the sides of a regular pentagon till they intersect one another. It can be drawn without a break in the drawing, and, viewed from five sides, exhibits the form of the letter A (pent-alpha), or the figure of the fifth proposition in Euclid’s First Book.
9. From the Greek φόβος, fear; φόβητρα, bugbears.
10. Bad puns were evidently common on the stage before the days of Victorian burlesque.
11. So Shakespeare, ‘1 Hen. IV.,’ iii. Falstaff says: ‘I make as good use of it as many a man doth of a death’s head, or a memento house.’
12. So in the ‘Passionate Pilgrim’:
‘Save the nightingale alone:
She, poor bird, as all forlorn,
Leaned her breast uptill a thorn.’
13. A peripatetic, or walking philosopher. Observe the facetiousness in ‘Aristotle’s stamp.’ Aristotle was the founder of the Peripatetics.
14. Fabius Cunctator, or the Delayer, so called from the policy of delay which he opposed to the vigorous movements of Hannibal. One would suppose that the humour here, such as it is, would hardly be perceptible to a theatrical audience.
15. In the old German ‘Faustbuch,’ the title of ‘Prince of the North’ is given to Beelzebub.
16. Demogorgon, or Demiourgos—the creative principle of evil—figures largely in literature. He is first mentioned by Lactantius, in the fourth century; then by Boccaccio, Boiardo, Tasso (‘Gierusalemme Liberata’), and Ariosto (‘Orlando Furioso’). Marlowe speaks, in ‘Tamburlaine,’ of ‘Gorgon, prince of Hell.’ Spenser, in ‘The Faery Queen,’ refers to—
‘Great Gorgon, prince of darkness and dead night,
At which Cocytus quakes, and Styx is put to flight.’
Milton, in ‘Paradise Lost,’ alludes to ‘the dreaded name of Demogorgon.’ Dryden says: ‘When the moon arises, and Demogorgon walks his round.’ And he is one of the dramatis personæ of Shelley’s ‘Prometheus Unbound’: ‘Demogorgon, a tremendous gloom.... A mighty Darkness, filling the seat of power.’
17. Boasts. So in Peele’s ‘Edward I’: ‘As thou to England brought’st thy Scottish braves.’
18. This reiteration of the same final word, for the sake of emphasis, is found in Shakespeare.
19. A corner or college cap.
20. An allusion to the old legend that Brut, or Brutus, great-grandson of Æneas, founded New Troy (Troynovant), or London.
21. Probably the reference is to the sunflower.
22. The classic writers usually identify the hyacinth with Apollo.
23. The rose, that is, of the Virgin Queen—an English Diana—Elizabeth. In Shakespeare’s ‘Midsummer Night’s Dream’ (Act iv., scene 1) we read of ‘Diana’s bud.’
Chapter II.
The Story of Dr. John Dee
The world must always feel curious to know the exact moment when its great men first drew the breath of life; and it is satisfactory, therefore, to be able to state, on the weighty authority of Dr. Thomas Smith, that Dr. John Dee, the famous magician and ‘philosopher,’ was born at forty minutes past four o’clock on the morning of July 13, 1527. According to the picturesque practice of latter-day biographers, here I ought to describe a glorious summer sunrise, the golden light spreading over hill and pasture, the bland warm air stealing into the chamber where lay the mother and her infant; but I forbear, as, for all I know, this particular July morning may have been cloudy, cold, and wet; besides, John, the son of Rowland Dee, was born in London. From like want of information I refrain from comments on Master Dee’s early bringing-up and education. But it is reported that he gave proof of so exceptional a capacity, and of such a love of letters, that, at the early age of fifteen, he was sent to the University of Cambridge, to study the classics and the old scholastic philosophy. There, for three years, he was so vehemently bent, he says, on the acquisition of learning, that he spent eighteen hours a day on his books, reserving two only for his meals and recreation, and four for sleep—an unhealthy division of time, which probably over-stimulated his cerebral system and predisposed him to delusions and caprices of the imagination. Having taken his degree of B.A., he crossed the seas in 1547 ‘to speak and confer’ with certain learned men, chiefly mathematicians, such as Gemma Frisius, Gerardus Mercator, Gaspar a Morica, and Antonius Gogara; of whom the only one now remembered is Mercator, as the inventor of a method of laying down hydrographical charts, in which the parallels and meridians intersect each other at right angles. After spending some months in the Low Countries he returned home, bringing with him ‘the first astronomer’s staff of brass that was made of Gemma Frisius’ devising, the two great globes of Gerardus Mercator’s making, and the astronomer’s ring of brass (as Gemma Frisius had newly framed it).’
Returning to the classic shades of Granta, he began to record his observations of ‘the heavenly influences in this elemental portion of the world;’ and I suppose it was in recognition of his scientific scholarship that Henry VIII. appointed him to a fellowship at Trinity College, and Greek under-reader. In the latter capacity he superintended, in 1548, the performance of the Ἐιρηνη of Aristophanes, introducing among ‘the effects’ an artificial scarabæus, which ascended, with a man and his wallet of provisions on its back, to Jupiter’s palace. This ingenious bit of mechanism delighted the spectators,