Category Archives: The Supernatural

Unspecified Year: Faust’s Gretchen

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In Goethe’s Faust (original German | English), the title character’s lover on this date spurns his rescue and is put to death for killing their illegitimate child.

In the text, Faust and Mephistopheles celebrate Walpurgisnacht. The next day — “dreary day,” Goethe has it — the hero realizes his Faustian bargain is coming due, to the indifference of his infernal patron. (This is the work’s only scene in prose.)

FAUST

In misery! In despair! Long wretchedly astray on the face of the earth, and now imprisoned! That gracious, ill-starred creature shut in a dungeon as a criminal, and given up to fearful torments! To this has it come! to this!—Treacherous, contemptible spirit, and thou hast concealed it from me!—Stand, then,—stand! Roll the devilish eyes wrathfully in thy head! Stand and defy me with thine intolerable presence! Imprisoned! In irretrievable misery! Delivered up to evil spirits, and to condemning, unfeeling Man! And thou hast lulled me, meanwhile, with the most insipid dissipations, hast concealed from me her increasing wretchedness, and suffered her to go helplessly to ruin!

MEPHISTOPHELES

She is not the first.

Faust nevertheless browbeats the devil into infiltrating him that night into the prison where Gretchen (a German nickname for Margaret, Margarethe, or Marguerite), terrified, mistakes him at first for the executioner who will come for her in a few hours:

Risen at Dawn, Gretchen Discovering Faust’s Jewels — a scene from Gretchen’s seduction by Pre-Raphaelite painter Dante Gabriel Rossetti.

GRETCHEN (on her knees)

Who, headsman! unto thee such power
Over me could give?
Thou’rt come for me at midnight-hour:
Have mercy on me, let me live!
Is’t not soon enough when morning chime has run?

(She rises.)

And I am yet so young, so young!
And now Death comes, and ruin!
I, too, was fair, and that was my undoing.
My love was near, but now he’s far;
Torn lies the wreath, scattered the blossoms are.
Seize me not thus so violently!
Spare me! What have I done to thee?
Let me not vainly entreat thee!
I never chanced, in all my days, to meet thee!

Yet she refuses to flee with him — sensing the change in his character, fearful of living as a fugitive, resigned to a death incurred by her own culpability.

Day? Yes, the day comes,—the last day breaks for me!
My wedding-day it was to be!
Tell no one thou has been with Gretchen!
Woe for my garland! The chances
Are over—’tis all in vain!
We shall meet once again,
But not at the dances!
The crowd is thronging, no word is spoken:
The square below
And the streets overflow:
The death-bell tolls, the wand is broken.
I am seized, and bound, and delivered—
Shoved to the block—they give the sign!
Now over each neck has quivered
The blade that is quivering over mine.
Dumb lies the world like the grave!

Faust has had innumerable interpretations in performance, typically omitting the intervening “dreary day” scene, which makes the prison sequence appear to take place at the conclusion of Walpurgisnacht. The prison confrontation, for instance, caps a Gounod opera:

In F.W. Murnau‘s masterful 1926 silent adaptation, the sentence is carried out by burning rather than beheading. This film is in the public domain and available in its entirety free online:

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1763: Marie-Josephte Corriveau, Quebec murderess

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On this date in 1763, a young woman shuffled off this mortal coil and into Quebecois folklore.

She’d made the mistake of outliving two husbands, and was convicted (with her father) of having been the instrument of their demise. Gibbeted after her death — a punishment not used in France, but Quebec had been captured by the English in the French and Indian War — her corpse became a figure of ghost stories and popular superstition, haunting passersby and playing poltergeist.

But why take it from me? Here’s the unhappy fate of Madame Corriveau, in puppet theater.

Or a stylish graphic novel-style cartoon.

Devotees of the written word can get their fill in two 19th century texts available free from Google Books: a passage in Maple Leaves, and a historical novel in which she figures as a character, The Golden Dog. Her French Wikipedia page is here.

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1682: Avvakum Petrov, Old Believer

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[audio:Old_Believer_chant.mp3]
(An Old Believer chant, via the Orthodox Church in America)

On this date in 1682, the Orthodox “Old Believer” priest Avvakum was burned at the stake in Pustozyorsk — part of Russia’s brutal crackdown on religious dissenters.

Old Believers rejected — with varying degrees of obstinacy, ranging at its most dramatic to communal self-immolation — liturgical reforms (and a concomitant expansion of central authority) forced by Patriarch Nikon. The conflict between the institutional church and Old Believers resulted in Orthodoxy’s great 17th-century schism, and persecution of the recalcitrants that waxed and waned for generations.

Avvakum, a protopope of one of the principal Moscow cathedrals, was at the forefront of the resistance as the schism opened, refusing to be reconciled with Nikon.

His tart autobiographical account — of miracles, devilry, preaching and persecution — captures an arresting, if obviously partisan, view of the situation.

Later they took the priest Lazar and cut his entire tongue from his throat. Just a bit of blood there was, and then it stopped. And he again spoke even without a tongue. Next they put his right hand on the block and chopped it off at the wrist, and lying there on the ground, of itself the severed hand composed its fingers according to tradition, and it lay that way a long time before the people. Poor thing, it confessed even in death the unchanging sign of the Savior.*

…

Wonderful are the works of the Lord and inexpressible are the designs of the Most High! He suffers punishment, but he has mercy and heals again. But why go on and on ? God’s an old hand at miracles, he brings us from nonexistence to life. And surely he will resurrect all human flesh on the last day in the twinkling of an eye. But who can comprehend this? For God is this: he creates the new and renews the old. Glory be to him in all things!

The “Life of the Archpriest Avvakum” is reprinted in Russian, English and Belgian here, and a slightly different English translation is extensively annotated here.

Old Believers (not excluding those in North America, though this trove of resources is not to be missed by anyone with an interest in Russian Orthodoxy, regardless of locale) still persist, unreconciled to the Orthodox establishment. This respectful photography project documents modern Old Believer life:

* One of the liturgical changes at issue was making the sign of the cross with two fingers (the old way) or three (the new way) — a particularly emblematic symbol of the conflict (notice Avvakum’s two-fingered blessing in the icon above). The dispute had a notable artistic use in Boyarina Morozova, a Vasily Surikov painting of an Old Believer defiantly holding up two fingers as she is hauled to exile.

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1670: Major Thomas Weir, a Puritan with a double life

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On this date in 1670, a 70-year-old upstanding Edinburgher went to the stake for confessing — unbidden — to witchcraft.

The “Wizard of West Bow” had had a distinguished military career and an exactingly pious public life among Edinburgh’s strictest Presbyterians. So it came as something of a surprise when, after being struck by an illness, he up and copped to a lifelong sexual relationship with his sister Jean … and a lifetime of hitherto unknown black arts, powered by a Satanic walking-staff. He was so far from being suspect that town elders at first thought him daft.

Only when Jean backed his story with the sort of details to give vapors to the “Bowhead Saints” neighborhood did things get serious. She especially warned about that staff.

So on this day, the dumbfounded city worthies had to tote one of their own to the area around Edinburgh’s modern Pilrig Street and have him strangled and burnt at the stake. Whatever moved Weir to issue his damning (literally!) admission, he was plainly quite in earnest: when asked to pray at the stake, he shot back, “Let me alone, I will not. I have lived as a beast, and I must die as a beast.” The staff was thrown onto the pyre with him; it was said to burn abnormally slowly.

His sister was hanged shortly thereafter for the same offenses, scandalizing her upstanding neighbors by tearing her clothes off on the way to the scaffold.

For a century, nobody dared live in Weir’s house, which the cremated major — and/or that staff, floating about looking for its owner — supposedly haunted. The house is long torn down, but the tale is natural fodder for any “haunted Edinburgh” tour.

One is struck in such a story by its modernity — perhaps the reason it could speak to a Victorian novelist like Robert Louis Stevenson.

The interpretive framework we begin with for witch hunts is — well, a “witch hunt.” Our own sense of what unjust social persecution is shapes the way we read these long-gone cases, the confessions forced from the victims’ lips. We identify with the “witches”; it is the alien world that ferrets them out and burns them that wants explaining.

Major Weir unnervingly turns the tables on such voyeurs as your correspondent. He steps without warning out of a forgotten mass of long-gone peoples, his confession not merely voluntary but insistent against skepticism — and suddenly we grapple for our bearings not in sociology but in abnormal psychology: here is a man very much of his society who has unexpectedly rejected it, boasts of rejecting it all along, and does so not craving after reconciliation to his people but in order to die (as does his sister) obstinate in that rejection. We can perhaps identify less readily with this individual than with his crestfallen friends.

Whether or not the Weirs really did anything that would count as a crime today — although one is practically forced to agree that at a minimum, the siblings violated a sexual taboo still enforced now — we have a template for this man not in the McCarthy hearings but straight from the evening news: the unassuming neighbor revealed to be a serial killer; the trusted rector who turns out to have been a pedophile.

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1888: Jochin Henry Timmerman, “don’t let them take you alive”

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On this date in 1888, Jochin Henry Timmerman was hanged across from the cemetery in Goldendale, Washington for the murder of a freight driver.

The account of this bit of local color in a territory still a year away from statehood comes from Washington’s HistoryLink website.

The page includes a lengthy account of the crime and capture of the only man ever hanged in Klickitat County. We excerpt here the affair’s climax.

Because Timmerman steadfastly maintained his innocence, the execution was scheduled to take place after the arrival of the April 6 daily overland mail stage. This was in case Territorial Governor Eugene Semple (1840-1908) sent a stay of execution. Early Klickitat Valley Days states “Friends of Timmerman had a skilled long distance rider with a swift saddled horse waiting at a railroad telegraph station (in) Grant, Oregon, 15 miles from Goldendale, across the Columbia River. A steam ferry tug waited on the Oregon shore, so the rider would not be delayed, if a coveted life saving yellow envelope was placed in his hands” (p. 78). Governor Semple sent no telegram, and the mail stage arrived without a letter of reprieve.

Timmerman, meanwhile, was given a quart of whiskey upon awakening and allowed to consume it all in preparation for his ordeal. The execution took place in Goldendale under Sheriff VanVector’s [sic] direction on a gibbet erected directly across from the town cemetery. The event drew a large crowd. Cora E. Van Hoy Ballou, who watched the execution as a young child, later remembered her mother calling to her and her sister on the morning of April 6, “Wake up children, pappy has gone to the barn to get the team. We’re going to town to see the hanging” (Early Klickitat Valley Days, p. 78). The Van Hoy family was not alone: The Washington Standard reported that more than 3,000 people witnessed Timmerman’s execution.

Timmerman rode to his execution in a wagon sitting up in his own coffin, reportedly smoking the cigar. He mounted the scaffold unassisted and tossed the cigar butt into the crowd, who fell upon it and fought for bits as souvenirs. Local tradition later told that just before his hanging Timmerman prophesied that Goldendale would soon be destroyed by fire, and indeed, on May 13, 1888, a little more than a month after Timmerman’s execution, seven blocks of Goldendale’s business district did burn down.

Timmerman went to his death maintaining his innocence. His last words are reported to have been this advice: “All I can say is that if you ever get caught in a scrape like this, don’t let them take you alive”

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203: Perpetua, the earliest Christian woman whose writings survive

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(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

There are many accounts of Christian martyrs in the annals of Christianity, but none quite like that of Perpetua, thrown to the beasts and put to the sword on March 7, 203, in Carthage.

There is no doing justice to the Passion of Saints Perpetua and Felicity in a brief essay such as this; the fifteen minutes or so it takes to read the original document, which includes the earliest writing we have from a Christian woman (Perpetua herself), will be well spent.

In short, the twenty-two-year-old Perpetua, her slave girl Felicity, their friend Saturninus (whose first-person account is included in the Passion), and two of their companions were arrested for converting to Christianity, Septimius Severus having forbidden conversion on pain of death. As you might suspect, the document recounts their being browbeaten and intimidated, until eventually they are killed in public, as a matter of sport.

But this isn’t what’s really interesting about the story.

Women are common as saints and martyrs, and they often must resist or convert a pagan man, typically a husband. While Perpetua’s husband is peculiarly absent from her story, her pagan father appears repeatedly, pleading with her, begging her for his sake to renounce her Christianity and save her own life. Her retellings of these episodes are striking for the very human sympathy she has for her father, despite, or perhaps in part because of, the spare prose in which she relates it. She insists on maintaining her faith, but grieves for her father’s suffering, and not only when he is beaten before her eyes by the Roman governor.

Children also figure prominently in the Passion. Perpetua nurses her newborn son while in prison. At one point during prayer, she has a vision of her seven-year-old brother, who had previously died a horrible death, and is assured in a second vision that her fervent prayers for him had brought him peace. Felicitas worries that she will not be able to die with Perpetua and the others due to rules against executing pregnant women. Thankfully, the group’s prayers are answered and Felicity gives birth a mere three days before they are to be killed.

The most famous aspect of Perpetua’s account is a dream in which she climbs a ladder, arriving at a garden where a man in shepherd’s clothing, milking sheep, gives her some of the curd he has from the milk. The questions it presents are interesting but also perhaps at once too obvious and too thorny to enter into here.

More interesting for us, perhaps, is the description of the martyr’s death, which (like the account of her comforting her dead brother) does have some controversial elements. Suicide is not martyrdom, and while martyrs will submit to death (like Christ), there is a line (sometimes a blurry one) that divides willingness from desire. It is a key trick of any martyr to be able to persuade us that God could have saved her had God chosen to do so (and this persuasion often involves the failure of initial attempts to kill the martyr), but that God chooses to give the persecutor “victory” of a sort even as God grants greater victory to the martyr. Similarly, the martyr must be willing to die, even happy to die, and at the same time convey that this is only for special people at special times, because God created human beings to live their lives.

Consider the following from the account of Perpetua’s death, when the soldier comes to deliver the coup de grace:

But Perpetua, that she might have some taste of pain, was pierced between the bones and shrieked out; and when the swordsman’s hand wandered still (for he was a novice), herself set it upon her own neck. Perchance so great a woman could not else have been slain (being feared of the unclean spirit) had she not herself so willed it.

This cannot of course be precisely true, or she should have lived. But we are also supposed to understand that it is only through some concession to the weakness of the persecutor that the persecuted is finally slain. In this respect, the editor of the Passion might be said to do his subject a disservice, as she has rendered herself so much more “great a woman” than he (most likely a he) with his martyrologist’s tropes. He has, however, done her and us a tremendous service in preserving and handing down her story as she herself wrote it.

Part of the Themed Set: The Written Word.

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1528: Patrick Hamilton, Scotland’s first Protestant

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On this date in 1528, Lutheran Patrick Hamilton was condemned to death for heresy and immediately* burned at the stake outside St. Salvator’s Chapel in St. Andrews, Scotland.

The “first reformer” of Scotland — and practically the only one of note during the Reformation’s earliest phase — Hamilton sprang from noble stock and was studying in Paris just when Martin Luther’s doctrines roiled Europe’s ecclesiastical scene.

He traveled widely on the continent, visiting Luther himself along with a passel of the era’s humanists and reformers, returning to Scotland late in 1527 on what looks like the missionary equivalent of a suicide mission. Given a few weeks’ latitude to pontificate publicly, he had armed the guardians of the faith with more than enough evidence of his heterodoxy.

Hamilton was alive to the public relations potential of a gaudy public death for the faith. And he was right.

An opposing prelate would soon caution against making similar examples, noticing that “the reek of Maister Patrik Hammyltoun has infected as many as it blew upon.” In his ashes glowed the ember that would ignite the Scottish Reformation. The young** martyr bequeathed it his nation’s first Protestant text, Patrike’s Places

Nor is Hamilton’s legacy in St. Andrew’s strictly theological. The spot of his passion is marked with the initials “P.H.” on the street — a modest but powerful public testament to the courageous young man’s (ultimately fruitful) sacrifice.

* Though the sentence was put into effect immediately, a paucity of fuel made a weak fire, and Hamilton’s death consumed six agonizing hours on the spit.

** Only 23 or 24 at his death.

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1869: Patrick Whelan, Canada’s first assassin?

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On this date in 1869, Irish immigrant Patrick Whelan was hanged at Ottawa’s Nicholas Street Gaol for the assassination of Canadian politician Thomas D’Arcy McGee.

McGee, a Father of the Confederation — Canada as a self-governing dominion was only months old when he was gunned down in Ottawa — was the first politician assassinated in the country, and for a century more, the only one. He may have been a sort of proto-Michael Collins, shot by onetime fellow-travelers in the Irish nationalist movement for going legit with the English.

It’s an open question whether the tailor convicted of his murder was actually one of them. Whelan, like McGee, was an Irish immigrant and supposedly a Fenian sympathizer. He also matched the gunman’s description.

Whelan was snatched up within 24 hours and convicted on essentially circumstantial evidence.

Hanged in a snowstorm before thousands, he maintained his innocence to the end — a plea that has had its advocates in posterity, including a high-profile recent play. Whelan bolsters his own case by haunting the jail where he met his fate … a structure which still stands today, now serving as a (singularly atmospheric) hostel.

Whelan is sometimes reported as the last man publicly hanged in Canada, although apparently he is not. (Officially, that honor belongs to Nicholas Melady.)

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Feast Day of St. Sebastian

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(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

Sebastian In Art






Martyrdom — dying for the sake of one’s religious beliefs — has been one of the defining aspects of Christian self-understanding since at least about 100 CE, when the Book of Revelation was composed. Only a few systematic persecutions of Christians can be even minimally documented, but the idea that Christians suffer and even die for their faith — at the hands of the Jewish establishment, or the Roman authorities, or, today, secular humanists — is absolutely central to Christian identity for many Christians.

One of these ancient periods of persecution for which there is some historical evidence is in the late third and early fourth centuries, around the time of the Emperor Diocletian. On this day in 287, according to tradition, Diocletian martyred Saint Sebastian, at the time an officer in the Praetorian Guard.

The story goes that Sebastian’s Christianity was unknown to the Emperor until Sebastian balked at his job of executing Christians who refused to offer a libation to the emperor (a god, according to the emperor cult of the time). Indeed, Sebastian went so far as to encourage two Christians martyrs in their faith, and to convert several others. Upon hearing of all this, Diocletian ordered Sebastian tied to a tree and shot to death with a firing squad of the ancient sort: bows and arrows.

This, then, is how Sebastian is best known and most commonly represented: as a beautiful youth tied to a tree or a pillar and pierced with arrows.

Like the martyr Saint Catherine, however, whose iconic imagery is also a form of execution* survived by the saint, Sebastian was riddled with arrows and left for dead but did not die. He was rescued by St. Irene, who nursed him back to health. He lived until he heckled the Emperor sometime later, at which point Diocletian had him beaten and, making certain he was dead, threw him into a privy.

The truth is that we know next to nothing of the historical Sebastian. The Catholic Encyclopedia has a very short article that says mainly that. But this has not diminished his importance or cultural prominence, and he has quite the account in the Golden Legend.

Sebastian walks in a solid tradition of military martyrs, including St. George and St. Martin of Tours, and is like George a patron saint of soldiers. Interestingly, while George was also martyred, George is typically represented in strength, slaying a dragon, while Sebastian is represented (again, like Catherine) at an ostensibly powerless moment that is simultaneously his nadir as a human and his pinnacle as a saint.

The image has fascinated artists (and writers) for millennia, including most especially Renaissance Italian artists and early modern artists from all over Europe. Botticelli painted Sebastian twice, but perhaps the single most famous painting is that of Andrea Mantegna, who painted the saint three times. The fame of these paintings may be due in part to the way in which they typify the conception of the saint and his representation as a complex icon of fantastic vulnerability and strength, suffering and fortitude, and with striking homoerotic potential (perhaps having to do with the complex relationship between pain and pleasure), which is more fully realized in, for example, Botticelli’s earlier work or in Guido Reni’s painting.

More recently, St. Sebastian has a cameo in the video for REM’s “Losing My Religion,” which seems to be very much about the hazards of being young and gay in a heteronormative culture.

There is no more or less reason to think that Sebastian himself was gay than to think that he was in the Praetorian Guard, from Gallia Narbonensis, or even, really, that he was martyred. But he has been an important icon in what we might call gay culture since at least the Italian Renaissance, and it’s not clear that it matters whether he was gay any more than it matters whether or not he even existed.

* The breaking wheel, which is said to have shattered at her touch.

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Feast Day of St. Catherine of the Wheel

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This date annually is the feast of iconic — perhaps mythological — Christian martyr Saint Catherine, said to have been put to death in the 4th century for her faith.

St. Catherine in a 700-year-old stained glass at St. Mary’s Church of Deerhurst. Image courtesy of the Sacred Destinations Travel Guide.

One of the most popular Catholic saints, St. Catherine was reputed to have been a beautiful young maiden of Alexandria — so wise as to convert every pagan scholar sent to dispute her, so devoted as to be mystically betrothed to Christ.

Catherine was condemned by one of the last pagan rulers of Rome to torture on a breaking wheel, which shattered when it touched her — so she was simply beheaded. (The story is related in didactic iconography in this triptych.)

Despite this inauspicious debut, the breaking wheel was Catherine’s iconic attribute, by which her frequent appearances in devotional art can be recognized.

This gruesome instrument of torture was also known as the “Catherine wheel” in medieval Europe, from which English derives the deceptively winsome-sounding name of a firework.

The saint became the patron of those condemned to this horrific death as well as a diverse swath of the wider society: wheelwrights, mechanics, and other laborers who worked with wheels for apparent reasons; teachers, philosophers and scribes for her learning; girls, virgins and young maids for her purity. Single women seeking husbands still offer her supplication:

St. Catherine, St. Catherine, O lend me thine aid
And grant that I never may die an old maid.
A husband, St. Catherine.
A handsome one, St. Catherine.
A rich one, St. Catherine.
A nice one, St. Catherine.
And soon, St. Catherine.

Catholic recountings of the saint’s legend can be read here and here. More St. Catherine’s Day customs are enumerated here.

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