On this date in 1611, the pathetic figure of a former priest — his body shaved to expose Devil’s marks, a noose about his neck — was conveyed to the secular powers to be tortured one last time, then hauled through the streets of Aix-en-Provence and burned to ashes.
Witchsmellers were thick on the ground in pre-Thirty Years’ War France, aselsewhere.
In our scene in the south of France, we find a characteristic entry in this horrible catalogue.
Parish priest and lothario Louis Gaufridi, having seduced a local teenager, found himself in hot water when she contracted the trendy disorder of demonic possession and started raving about the times she went with the cleric to see Black Sabbath.
Not this Black Sabbath.
Other inmates at the convent to which Gaufridi’s paramour had been conveyed were soon in on the act, indicting him for cannibalism, exotic sexual perversions, and — of course — devil-worship.
Gaufridi’s denials were overcome in the usual way, with the support of doctors who filed a report scientifically vouching that the infernal powers had laid their mark upon the subject. The priest soon saw the wisdom in copping to the charges, and not only his torture-adduced confessions (which he vainly attempted to repudiate in court) but the veritable original contract specifying the terms of his demoniacal servitude was produced for magisterial consideration.
I, Louis, a priest, renounce each and every one of the spiritual and corporal gifts which may accrue to me from God, from the Virgin, and from all the saints, and especially from my patron John the Baptist, and the apostles Peter and Paul and St. Francis. And to you, Lucifer, now before me, I give myself and all the good I may accomplish, except the returns from the sacrament in the cases where I may administer it; all of which I sign and attest.
I, Lucifer, bind myself to give you, Louis Gaufridi, priest, the faculty and power of bewitching by blowing with the mouth, all and any of the women and girls you may desire; in proof of which I sign myself Lucifer.
That’s right. He did it all for the nookie.
(That, and to “be esteemed and honored above all the priests of this country.” Thomas Wright, in his omnivorous and freely available chronicle of European witch trials, remarks that these two attributed motives suggest “the reason why Gaufridi was persecuted by the rest of the clergy.” And oh, but the ladykiller — or rather, the reverse — still starred in the fantasies of the possessed years after his death. (French link))
Gaufridi’s execution immediately freed his erstwhile lover from her satanic affliction. Madeleine de la Palud, however, having officially established herself as susceptible to the penetrations of the Evil One, would remain suspect in the eyes of the inquisition for the 60 years remaining of her life. She twice faced witchcraft charges herself.
On this date in 1676, two sisters were beheaded in Stockholm in one of Sweden’s most famous witch trials.
The great Swedish witch hunt of 1668-1676 was at its crescendo, having spread from the provinces to the capital. Here was repeated pattern by now familiar — children accusing adult women of taking them to witches’ sabbaths, and various and sundry infernally-inspired offenses against the civic order.
Brita Zippel (or Britta Sippel) was a natural magnet for accusations. Born well-off but fallen into poverty, and hot-tempered (as we shall see) besides, she had already survived two previous witch trials.
Her sister Anna remained a member of the town’s elite, but her status proved no use to her when suspicion fell on the family. Rumors and accusations snowballed over a period of months — that the sisters kidnapped children; that they committed arson; that both Anna’s wealth and Brita’s poverty proved their diabolical affiliations. That Anna Zippel and her business partner Anna Mansdotter made money selling medicines to the rich and powerful hardly decreased suspicion. The children who drove all this really made the most of the limelight — fainting spells, supernatural tales, the whole nine yards.
While the well-heeled Annas maintained a dignified stoicism during their trial — which only served to condemn them — Brita gave rein to all her furious indignation — which only served to condemn her. Anna Zippel defended herself calmly. Brita threatened witnesses, attacked her sister, and poured invective on her persecutors. Same result.
Their contrast in demeanor continued to the scaffold itself.
Shaking her chains, threatening her confessor with her posthumous vengeance, and cursing her onlookers, Brita required the offices of five men to wrestle her to the block for her beheading. (She went first because of the scene she was making.) Anna Zippel followed quietly, and then (quieter still) Anna Mansdotter, who had managed to commit suicide in prison but whose corpse still suffered the same fate of decapitation and burning.
These first witch-hunt victims in Stockholm were not the last, but they would presage the collapse of an enterprise that had consumed some 200 lives over the preceding eight years. According to Witch Hunts in Europe and America,
[i]n the spring of 1676, the court of appeals in Stockholm began investigating cases directly, rather than simply examining the records local officials forwarded. This resulted in the appointment of yet more royal commissions, but these were completely dominated by skeptical Stockholm officials. Turning the pressure on the accusers, the commissions gained several confessions from child accusers stating that they had made the whole thing up. The witch-hunt quickly collapsed, and four accusers, including a boy of 13, were executed.
Of no direct relevance, our dalliance with Scandinavian witchery offers a pretext to excerpt Benjamin Christiensen‘s freaky (and censored) 1922 silent classic Haxan: Witchcraft Through the Ages.
As Roxalana Druse’s fatal date approached, said the Saturday Globe (an early national paper here mining the product-moving public fascination with mayhem we have noted across the pond), “she has dwindled to a mere shadow of her former self and would hardly tip the scales at 85 pounds.”
Still, this infamous-at-the-time crime would be little more than a piece of period folklore were it not for the horrible end Druse suffered.
Shrieking with terror as she was hooded (so says the New York Times account, which also reports that she deferred her last statement to her Universalist spiritual counselor, who made a general denunciation of the death penalty), Roxalana Druse was hanged on an upward-jerking gallows — and the rope reportedly failed to snap her neck, leaving her to slowly strangle to death.
This botched job in a high-profile hanging intensified pressure on the New York legislature to do away with the gallows; the next year, it became the first jurisdiction in the world to adopt electrocution for death sentences.
And Roxalana? She’s preserved in local lore in Herkimer, where she is said to haunt the courthouse where she heard her sentence.
* Roxalana Druse insisted that her teenage daughter Mary had nothing to do with it. Mary received a prison sentence, and was pardoned in 1895.
On this date in 1885, a most inexplicable thing occurred on the gallows of Exeter.
It was there that John Lee, nicknamed “Babbacombe”, made his peace with his maker and faced hanging for the murder of an elderly spinster a few months before.
Lee still protested his innocence. He was not generally believed.
It was a scene of the mechanism and solidity of legal procedure, as nearly real as mechanism and solidity can be.
Noose on his neck, and up on the scaffold they stood him on a trap door. The door was held in position by a bolt. When this bolt was drawn, the door fell —
John Lee, who hadn’t a friend, and hadn’t a dollar —
The Sheriff of Exeter, behind whom was Great Britain.
The Sheriff waved his hand. It represented Justice and Great Britain.
The bolt was drawn, but the trap door did not fall. John Lee stood with the noose around his neck.
It was embarrassing. He should have been strangling. There is something of an etiquette in all things, and this was indecorum. They tinkered with the bolt. There was no difficulty. whatsoever, with the bolt: but when it was drawn, with John Lee standing on the trap door, the door would not fall.
Something unreasonable was happening. Just what is the procedure, in the case of somebody, who is standing erect, when he should be dangling?
Three times they made the attempt. Three times the door failed to open — even though the apparatus performed perfectly when tested without the prisoner.
Lee was returned to his cell by the bewildered authorities, and Home Secretary William Vernon Harcourt commuted his sentence to penal servitude.
Eventually released in 1907, John Lee milked his bizarre celebrity by giving public declamations of his unaccountably aborted Calvary — and continued to maintain his innocence.
After this mighty stroke of — well, was it divine intervention? — that claim carried a lot more weight. Lee’s innocence is hardly an established fact, but the circumstantial nature of the evidence against him looks much weaker now than it did in 1885. The BBC’s Inside Out even speculates that Lee’s own lawyer did the deed.
But does one really care, by now? The principals are long dead and buried. What remains is that brief and timeless encounter with the uncanny.
(It’s Samhain — the ancient, pagan wellspring of Halloween. Thanks to Royelen for this timely remembrance of a completely undated witch-burning from Scottish folklore.)
A gurgling fountain at the property border announces a gentle place. The fountain has a small pond filled with friendly goldfish which swim your way. They are hoping for morsel of food but it feels like an appropriate welcome to a local herb shop.
The mission is to find a remedy for leg pain. For a few moments the pain can wait while the lemon thyme gets rubbed by fingers gathering up the smell for a delightful inhalation. And then there is the basil, the chocolate mint, the rosemary — and so it goes with rows and rows of little pots of tiny green plants, each fragrant in a unique way. Each creating its own sensation.
When sated with nasal stimulation, it’s time to enter the house. It causes no surprise when cheery sounding chimes ring as the door opens. Inside the walls are lined with shelves. Each shelf is filled with glass jars. Each jar has a different dried leaf. There are many jars. An herb shop employee is happy to help.
“Pain, long-standing muscle pain? In your leg. Uh-huh. It’s possibly a nutritional deficiency, you want to take calcium, two pills twice-a-day. You’ll know in two weeks if this is the cause.”
This knowledge, long forgotten and now denied by Western medicine, may have been the kind of knowledge that got Kate McNiven killed.
Scottish lore has it that Kate McNiven’s community of Monzie in Scotland first sought her out for her wisdom, maybe for her herb cures and curse-ending charms. Then, in the era of witch burnings, her community pulled her from her service and burned her to death. After killing her, Kate McNiven’s community made her a local legend.
Today we might assess Kate McNiven as a real witch based on the power of the curse she left behind — a curse which the generations passed down and which now comes to us across the Internet; a curse which leaves us the tale of a talisman known as the Inchbrakie Moonstone.
Though there are no official records, the curse is said to begin in 1615* when Kate was accused of witchcraft. Having been found guilty, word spread of her immediate execution by fire. A landowner of a nearby estate, having come upon the fire preparations, asked the gathered crowd to stop their execution plan. While he had no success, he did win favor from the named witch.
As the fires around her grew, Kate McNiven began her curse. The landowner of execution site was cursed, then the area known as Monzie was cursed, and finally she honored the unsuccessful estate owner who attempted to stop her execution. She threw from the fires a charm — a blue stone that had been around her neck — and told him that if he kept it close, he would always be blessed with sons and they would always be blessed with lands.
The legend goes that the cursing was successful. The landlord on whose land she died was not able to pass the property on. Monzie withered.
Of course, the land owner who pleaded her case kept the stone near as directed. As the legend goes it always was put on the fingers of the daughter-in-laws and heirs were always produced. Centuries of fecundity were enjoyed until one descendant made the mistake of allowing the stone to be moved outside of the estate. That was the end of the good run and proof of Kate’s powers as a witch.
Is the legend of the Witch of Monzie a romantic retelling of a woman’s death or is it a community reassuring itself that the executed woman was guilty of her crimes? Maybe both. Maybe more.
Swiss psychotherapy pioneer Carl Jung’s theory of the shadow tells us that Kate McNiven’s peers attributed to her what they could not accept in themselves. They found her untrustworthy and capable of doing strange things. For some reason, she of all people was chosen as the one to be the scapegoat. It may have been for no other reason than she didn’t point the finger at someone else. The people of Monzie did not fight for her release, and they likely felt relieved that the pressure was off of them. Their untrustworthiness and strange behaviors were not under scrutiny. For the moment, they were safe.
It’s easy to imagine Kate McNiven as Tessie in Shirley Jackson’s short story, “The Lottery”:,
The children had stones already. And someone gave little Davy Hutchinson a few pebbles.
Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers moved in on her. “It isn’t fair,” she said. A stone hit her on the side of the head. Old Man Warner was saying, “Come on, come on, everyone.” Steve Adams was in the front of the crowd of villagers, with Mrs. Graves beside him.
“It isn’t fair, it isn’t right,” Mrs. Hutchinson screamed, and then they were upon her.
* Not only the year but the century of Kate McNiven’s — or M’Niven, McNieven or Nicniven — execution is disputed. Sources report both 1615 (in the midst of King James’ witch-sniffing reign), and 1715 (which would make her one of the last witchcraft executions in Scotland).
On this date in 1622, Anne de Chantraine was burned at the stake for witchcraft in Waret-la-Chaussee, Belgium.
Our day’s heroine answers most prominently to fictional modern interpretations — about which more in a moment — but Anne de Chantraine was a flesh-and-blood person, at least for 17 years.*
In outline form, Anne is said to have faced the usual litany of sorcerous allegations and the usual ordeals to demonstrate guilt, with the usual result: confession, execution. Here in the opening years of the Thirty Years’ War coeval with the the conflicts of the Protestant Reformation, one cannot but suspect the fearful hand of endangered authority in witch-hunts. Historian Hugh Trevor-Roper argued that
this recrudescence of the witch-craze in the 1560s was directly connected with the return of religious war … It can be shown from geography: every major outbreak is in the frontier-area where religious strife is not intellectual, a dissent of opinion, but social, the dissidence of a society. … Thereafter, almost every local outbreak can be related to the aggression of one religion upon the other.
Anne de Chantraine’s environs fit the theorem.
The Walloon region of Liege at this point was governed by a Catholic Prince-Bishop of Habsburg stock, just as the Holy Roman Empire was putting down the Protestant stirrings in Bohemia that would initiate Europe’s epochal war and send armies to and fro through the Low Countries. Said Prince-Bishop, name of Ferdinand of Bavaria, would win renown as a zealous persecutor of the diabolical in his realms.
Alas for Anne.
She’s a bit better documented among Francophones (see this biography in French, for instance, full of sensual details like the gorgeous red hair, a spurned lover accusing her, and the rough play of medieval torture; there’s also a brief roundup in German here), but worldwide, she’s a literary character of some consequence — most notably, perhaps, through the work of Belgian author Francoise Mallet-Joris: her 1968 Trois âges de la nuit (translated to English as simply The Witches) presents Anne de Chantraine as the focal point of one of three vignettes reimagining real historical “witches” as persons struggling for spiritual growth.
Anne, in this version, does participate in (staged, not-really-supernatural) witches’ sabbaths, plus a lesbian affair with a fellow participant. Her seekings both godly and infernal (paralleled by lifestyles both monastic and hedonistic) fall short of satisfactory; in the end, exercising magic unto her own death is a form of self-actualization among fellow people who, unable to recognize her humanity, brutalize or ignore her.
Players of the long-running video board game Atmosfear (or Nightmare) will also recognize Anne de Chantraine as a recurring witch character. The series uses recordings (VCR tapes originally; DVDs now) played during gameplay; “the witch” is featured as the central character in Atmosfear III/Nightmare III:
(In the comment thread for this video on YouTube, the French actress Frederique Fouche drops in to confirm her part as the witch. According to this French interview, the role caused her to become an emigre in Australia.)
* Some reports say she was burned at age 17, others that she was arrested at 17, which would have made her 18 or 19 at her death.
On the morning this day in 1599, the Cenci family — mother Lucrezia, son Giacomo, and immortal tragic heartthrob Beatrice — were put to death at Sant’Angelo Bridge for murdering the clan’s tyrannous father.
Francesco Cenci, the victim, was more accustomed to making victims of his own: detested around the Eternal City, he indulged his violent temper and fleshy lusts with the impunity of a wealthy cardinal’s son. By all accounts, he enjoyed pushing around his family, too.
This much is stipulated. What lies beyond is legend.
But the legend is why we’re dallying with Beatrice today, so we might as well begin there: in fear that her father would rape her, it goes, Beatrice tried to turn to the authorities, who let mean old dad walk on account of his connections. Desperate to protect herself from incest, Beatrice and family arrange to batter his gulliver and toss him over a balcony to make it look like suicide.
So the family was hauled in and tortured, and eventually Lucrezia and Beatrice (both beheaded) and Giacomo (quartered after suffering the mazzolatura of an incapacitating hammer blow to the head followed by gory lethal knifework by the executioner) all paid the price while the youngest child watched, spared death but condemned to life in the galleys.
(The papacy gobbled up the patricides’ estate, which puts a fine point on the ironically-named Pope Clement VIII‘s law-and-order stance on the appeal for mercy, and his subsequent edicts to quash public comment on the affair.)
Then Beatrice’s body — the part below the neck — contrived to disrobe when fumbled by the brethren taking it away for burial.
You’ve got to admit it’s pretty romantic. Some versions even hold that the responsible executioners died violently themselves within a month, or that a ghostly Beatrice returns to the scene of her demise on this anniversary.
And not a word of Italian fluency will be necessary to catch the gist of this excerpt from this 1969 Lucio Fulci film:
While the case was a true sensation Rome at the turn of the 17th century, the legend as we know it was heavily constructed in the 19th century … and specifically Percy Bysshe Shelley, who heard the story in Italy* where it had persevered as local folklore. A girl who killed her despot-father, executed by the despotic agents of the Divine Father? You don’t get into the canon without knowing what to do with that kind of material.
And he had this charming painting of her to boot:
Shelley amped up the menaced-virginal-purity theme, made the bloodshed a lot more demure, and turned it into a long poem, “The Cenci” (available on Google Books, and on Bartleby.com) which in Melville’s description proceeds from putting its protagonist between the “two most horrible crimes possible to civilized humanity — incest and parricide.”
This doesn’t all actually turn out to be well supported: at a minimum, Shelley inflated an incest allegation of doubtful lineage into accomplished fact. Beatrice’s camp did not raise this claim until just before her execution, when it needed a high card for clemency. The loutish victim eventually got his own biographer, who strongly disputed the incest charges. (Francesco also sports his own Italian Wikipedia page.)
Remarkable how the tradition in its modern incarnation proceeds root and branch from Shelley’s apprehension of a single painting, and how his reading stamped itself upon the canvas for later observers — like Hawthorne, writing in his journal:
It is the very saddest picture that ever was painted, or conceived; there is an unfathomable depth and sorrow in the eyes; the sense of it comes to you by a sort of intuition. … It is the most profoundly wrought picture in the world; no artist did it, or could do it again. Guido may have held the brush, but he painted better than he knew. I wish, however, it were possible for some spectator, of deep sensibility, to see the picture without knowing anything of the subject or history; for no doubt we bring all our knowledge of the Cenci tragedy to the interpretation of the picture.
He wrote better than he knew: the painting is no longer attributed to Guido Reni, and it’s doubtful whether it’s a portrait of Beatrice at all. One wonders if it would retain its place in Hawthorne’s estimation as a local washer-woman modeling for an allegory.
On this date in 1850, a Persian merchant who claimed to be the Islamic messiah was shot in Tabriz for apostasy.
The Bab — the handle means “Gate”; he was born Siyyid `Alí Muhammad — started preaching as a young man in 1844 and attracted a following unwelcome to the orthodox Shi’a clergy and the powers that were.
The Bab would claim to be “that person you have been awaiting for one thousand years”: the Mahdi. And in a John the Baptist-like pose, he would also pledge to be preparing the way for another, “He whom God shall make manifest,” to follow his footsteps.
Authorities cracked down on this subversive faith and its heretical claim to have a divine messenger, hailing the Bab before a clerical tribunal that found him a blasphemer and an apostate. After dawdling a couple of years, the government finally ordered him shot … to which punishment a young disciplie submitted himself voluntarily as well.
Reputedly, the public execution by firing squad was quite a fiasco for the government, and/or a miracle for the Bab. It is said that the entire sizable regiment deployed to volley at the Bab and his devotee managed to miss everything, but to shoot through the rope that was holding the prophet suspended a few meters above the ground. In the Baha’i version, he miraculously disappears from the first execution attempt and is found later calmly conversing with a secretary in his prison cell, at which point he’s (successfully) executed a second time.
A less pious version of the story commencing from the same starting point of unmarksmanlike executioners has the Bab shot out of his rope and availing the smoke of the discharge to scramble out of the courtyard, only to be detained before he could make good an escape.
Inevitable disputes about the succession to this charismatic figure ensued his death, and several claimed to be the Bab’s Promised One. The main current of the tradition evolved into the Baha’i faith, accepting the claim of Baha’u’llah to this position. (A tiny remnant of Babism still persists who dispute Baha’u’llah’s legitimacy and still await the Promised One.)
Around this date in the unspecified 18th-century year of Mary Shelley’s Frankenstein, the titular family’s servant is put to death for the murder of their youngest child, William.
In the novel, smarty-pants university student Victor Frankenstein has created (and immediately rejected) his famous monster. Not long after, he receives a letter (dated May 12, “17–“) from his father informing him of the murder of his youngest brother.
About five in the morning I discovered my lovely boy, whom the night before I had seen blooming and active in health, stretched on the grass livid and motionless; the print of the murder’s finger was on his neck.
Covering the 600-plus kilometers home to Geneva, Victor becomes convinced that his creation is the culprit.* But upon reaching his destination, he finds that circumstantial evidence has accused the family’s blameless (and ironically named) servant, Justine.
He’s back just in time to watch, in horror, as she’s convicted — impotent (or at least that’s what he tells himself) to help her with his fantastical truth, and despairingly watching her friends abandon her to her fate.
Justine has grown up with Victor and the others, so the entire Frankenstein family remains convinced of the servant’s innocence, though they’re practically alone in Geneva in that belief.
A woodcut illustration of Justine in prison, by Lynd Ward — as seen here.
Shelley includes an interesting passage in which Justine (having already been convicted) is battered by her priest into falsely confessing to the crime. Though clearly anti-clerical in intent, it’s also a moment with remarkable current resonance given the prevalence of false confessions in modern wrongful conviction scenarios:
“I did confess, but I confessed a lie. I confessed, that I might obtain absolution; but now that falsehood lies heavier at my heart than all my other sins. The God of heaven forgive me! Ever since I was condemned, my confessor has besieged me; he threatened and menaced, until I almost began to think that I was the monster that he said I was. He threatened excommunication and hell fire in my last moments if I continued obdurate. Dear lady, I had none to support me; all looked on me as a wretch doomed to ignominy and perdition. What could I do? In an evil hour I subscribed to a lie; and now only am I truly miserable.”
The poor woman’s fate is sealed either way — and in her parting conversation with Victor and his future wife Elizabeth, we find Justine more at peace than the monster’s creator:
“I do not fear to die,” [Justine] said; “that pang is past. God raises my weakness and gives me courage to endure the worst. I leave a sad and bitter world; and if you remember me and think of me as of one unjustly condemned, I am resigned to the fate awaiting me. Learn from me, dear lady, to submit in patience to the will of heaven!”
During this conversation I [Victor] had retired to a corner of the prison room, where I could conceal the horrid anguish that possessed me. Despair! Who dared talk of that? The poor victim, who on the morrow was to pass the awful boundary between life and death, felt not, as I did, such deep and bitter agony.
…
“In these last moments I feel the sincerest gratitude towards those who think of me with kindness. How sweet is the affection of others to such a wretch as I am! It removes more than half my misfortune, and I feel as if I could die in peace now that my innocence is acknowledged by you, dear lady, and your cousin.”
Thus the poor sufferer tried to comfort others and herself. She indeed gained the resignation she desired. But I, the true murderer, felt the never-dying worm alive in my bosom, which allowed of no hope or consolation. Elizabeth also wept and was unhappy, but hers also was the misery of innocence, which, like a cloud that passes over the fair moon, for a while hides but cannot tarnish its brightness. Anguish and despair had penetrated into the core of my heart; I bore a hell within me which nothing could extinguish. We stayed several hours with Justine, and it was with great difficulty that Elizabeth could tear herself away. “I wish,” cried she, “that I were to die with you; I cannot live in this world of misery.”
Justine assumed an air of cheerfulness, while she with difficulty repressed her bitter tears. She embraced Elizabeth and said in a voice of half-suppressed emotion, “Farewell, sweet lady, dearest Elizabeth, my beloved and only friend; may heaven, in its bounty, bless and preserve you; may this be the last misfortune that you will ever suffer! Live, and be happy, and make others so.”
And on the morrow** Justine died. Elizabeth’s heart-rending eloquence failed to move the judges from their settled conviction in the criminality of the saintly sufferer. My passionate and indignant appeals were lost upon them. And when I received their cold answers and heard the harsh, unfeeling reasoning of these men, my purposed avowal died away on my lips. Thus I might proclaim myself a madman, but not revoke the sentence passed upon my wretched victim. She perished on the scaffold as a murderess!
Shelley gives us quite the gentle picture of the Frankenstein family, in which Victor is practically the only exponent of vengeance after the dreadful crime. Even the father’s initial letter home, written in the immediate shock after discovering the boy’s body, summons his son to come
not brooding thoughts of vengeance against the assassin, but with feelings of peace and gentleness, that will heal, instead of festering, the wounds of our minds.
After the hanging, dad again endeavors to keep Victor from wasting himself on rage … which it seems that Victor would have readily assented to had he not carried his secret burden of guilt:
“Do you think, Victor,” said he, “that I do not suffer also? No one could love a child more than I loved your brother” — tears came into his eyes as he spoke — “but is it not a duty to the survivors that we should refrain from augmenting their unhappiness by an appearance of immoderate grief? It is also a duty owed to yourself, for excessive sorrow prevents improvement or enjoyment, or even the discharge of daily usefulness, without which no man is fit for society.”
This advice, although good, was totally inapplicable to my case; I should have been the first to hide my grief and console my friends if remorse had not mingled its bitterness, and terror its alarm, with my other sensations.
Frankenstein is available free at Project Gutenberg. Of course, it has been adapted many times into other cultural artifacts; these are somewhat famous for their infidelity to the original work, and Justine tends to get short shrift in most (although she’s hanged in quite an over-the-top spectacle in the 1994 Kenneth Branagh vehicle Mary Shelley’s Frankenstein (review here)).
If Justine is usually pulled from the story, Hollywood has found a role for the scaffold elsewhere. Where Shelley has Victor haunting “charnel houses” and the like, the seminal and oft-imitated 1931 Boris Karloff film makes a point to include a hanged criminal for some of the creature’s parts — although “the brain is useless”:
But a criminal brain finds its way into the monster just the same, an explanation of its behavior completely antithetical to Mary Shelley’s:
* He’s right, of course — the creature later admits it — but you could certainly quibble with Victor’s methodology:
Nothing in human shape could have destroyed the fair child. HE was the murderer! I could not doubt it. The mere presence of the idea was an irresistible proof of the fact.
** The precise date is never disclosed, but the events are roughly dated by Victor’s subsequent narration, “it was about the middle of the month of August, nearly two months after the death of Justine, that miserable epoch from which I dated all my woe.”
On this date in 1431, Joan of Arc (also Jeanne d’Arc, even though d’Arc wasn’t really her name at all) was burned at the stake for heresy in the marketplace of Rouen, France.
A Joan of Arc statue in Philadelphia, Pennsylvania.
Very much has been written and said about this strange figure, the Maid of Orleans — not quite so much larger than life as she seems otherworldly to it: in her mystical exaltation, in her unthinkable elevation from the illiterate peasantry to military command (and bizarrely effective intervention in the intractable Hundred Years’ War).
Apotheosis to the ranks of France’s national heroes is the least of it; Joan’s iconography extends well outside her homelands and well beyond the project of feudal restoration that was her short life’s concern.
Her myth has had a robust afterlife, but her accomplishments in the flesh were quite real — staggering, even. At the nadir of France’s fortunes, she convinced the French dauphin Charles VII of her divine inspiration in April 1429 and, far more aggressive (and some would say lucky) than the army’s noble commanders, immediately relieved the English siege of Orleans. By July, she had captured Reims, where Charles was crowned king.
The next year, Joan was captured by the Burgundians, who sold her to the British, who in turn subjected her to an ecclesiastical inquiry — what became a remarkable, exhaustively documented three-week interrogation, in which she deftly matched wits with academic persecutors over the reality and nature of her divine visions.
She was immediately considered a martyr by her own side — and twenty years later, when the war had finally ended, another court reversed the verdict against her — but her universal appeal and cultural ubiquity remained a long time off.*
“Dark-minded man!”
The Maid of Orleans answered, “to act well
Brings with itself an ample recompense.
I have not reared the oriflamme of death —
Now God forbid! The banner of the Lord
Is this; and, come what will, me it behooves,
Mindful of Him whose minister I am,
To spare the fallen foe: that gracious God
Sends me a messenger of mercy forth,
Sends me to save this ravaged realm of France,
To England friendly as to all the world;
Only to those an enemy, whose lust
Of sway makes them the enemies of man.”
The romantic 19th century took up her standard when the trial records were uncovered — liberals cottoned to her lowly birth, conservatives to her monarchist project, all France to her proto-nationalism, all Catholics to her faith (she was elevated to sainthood in the early 20th century; May 30 is also her feast day). The Vichy government and the French Resistance both claimed her in World War II. Her gender and sexuality have invited modern attention, just as they did for her judges: she works (anachronistically, of course) as a girl-power pop feminism icon, and her masculine social role gives her queer cachet; she made a point of keeping her virginity, but may have been sexually assaulted in prison, an event that figures in Andrea Dworkin’s Intercourse.
Joan stands equal to such varied identities because the mysteriously personal qualities of her story invite the observer into it, and those qualities hold precisely because of her fiery end this day. What would Joan have been in five or ten years’ time, had she escaped capture or held to her temporary renunciation of wearing men’s clothes (the head-scratching but subtly profound charge that finally doomed her)? An aging commander with the gloss off her, a partisan of some faction of the abject French court, a hostage somewhere being ransomed for gold plate or quietly poisoned off?
Her myth and its antithesis work because she came in radiance from dust, and followed her conscience — her God, her will, her destiny, or what have you — back to dust.
Though adapted many times for the screen, the definitive Joan of Arc film remains the 1928 silent treament La Passion de Jeanne d’Arc, scripted largely from the original trial transcripts. The movie’s lead Maria Falconetti — and indeed the very silence of the medium — convey something of that mysterious, multifaceted meaning left to us tantalizingly suspended between the 19-year-old who stood at the stake this day and the legend that arose from her ashes.
Books about Joan of Arc
(The Mark Twain book is in the public domain and available free at Project Gutenberg in both text (part 1 | part 2) and audio (part 1 | part 2) forms.)
* Shakespeare, for instance, writing Henry VI Part I about Charles VII’s English opposite number, has Joan in a rather more negative light than a modern reader is used to seeing — as a witch and a whore. In her last battlefield appearance, she summons demons …
Enter Fiends
This speedy and quick appearance argues proof
Of your accustom’d diligence to me.
Now, ye familiar spirits, that are cull’d
Out of the powerful regions under earth,
Help me this once, that France may get the field.
… who fail to aid her although she offers them her body. Later, condemned to the stake, she cravenly tries to plead her belly by claiming that she slept with several other characters.
It was there that 
