Folk-lore of Shakespeare. Dyer Thomas Firminger Thiselton

      It seems, however, that they were also supposed to be malignant; but this, “it may be,” says Mr. Ritson, “was merely calumny, as being utterly inconsistent with their general character, which was singularly innocent and amiable.” Thus, when Imogen, in “Cymbeline” (ii. 2), prays on going to sleep, it must have been, says Mr. Ritson,42 the incubus she was so afraid of.

      Hamlet, too, notices this imputed malignity of the fairies (i. 1):

      That the fairies, however, were fond of indulging in mischievous sport at the expense of mortals is beyond all doubt, the merry pranks of Puck or Robin Goodfellow fully illustrating this item of our fairy-lore. Thus, in “A Midsummer-Night’s Dream” (ii. 1) this playful fairy says:

      A fairy, in another passage, asks Robin:

      We have already mentioned how Queen Mab had the same mischievous humor in her composition, which is described by Mercutio in “Romeo and Juliet” (i. 4):

      Another reprehensible practice attributed to the fairies was that of carrying off and exchanging children, such being designated changelings.45 The special agent in transactions of the sort was also Queen Mab, and hence Mercutio says:

      And “she is so called,” says Mr. Halliwell-Phillipps, “because it was her supposed custom to steal new-born babes in the night and leave others in their place.” Mr. Steevens gives a different interpretation to this line, and says, “It does not mean that she was the midwife to the fairies, but that she was the person among the fairies whose department it was to deliver the fancies of sleeping men in their dreams, those children of an idle brain.”

      CHAPTER II

      WITCHES

      In years gone by witchcraft was one of the grossest forms of superstition, and it would be difficult to estimate the extent of its influence in this and other countries. It is not surprising that Shakespeare should have made frequent allusions to this popular belief, considering how extensively it prevailed in the sixteenth and seventeenth centuries; the religious and dramatic literature of the period being full of it. Indeed, as Mr. Williams46 points out, “what the vulgar superstition must have been may be easily conceived, when men of the greatest genius or learning credited the possibility, and not only a theoretical but possible occurrence, of these infernal phenomena.” Thus, Francis Bacon was “not able to get rid of the principles upon which the creed was based. Sir Edward Coke, his contemporary, the most acute lawyer of the age, ventured even to define the devil’s agents in witchcraft. Sir Thomas Browne and Sir Matthew Hale, in 1664, proved their faith – the one by his solemn testimony in open court, the other by his still more solemn sentence.” Hence, it was only to be expected that Shakespeare should introduce into his writings descriptions of a creed which held such a prominent place in the history of his day, and which has made itself famous for all time by the thousands of victims it caused to be sent to the torture-chamber, to the stake, and to the scaffold. Thus he has given a graphic account of the celebrated Jeanne D’Arc, the Maid of Orleans, in “1 Henry VI.,” although Mr. Dowden47 is of opinion that this play was written by one or more authors, Greene having had, perhaps, a chief hand in it, assisted by Peele and Marlowe. He says, “It is a happiness not to have to ascribe to our greatest poet the crude and hateful handling of the character of Joan of Arc, excused though to some extent it may be by the occurrence of view in our old English chronicles.”

      Mr. Lecky,48 too, regards the conception of Joan of Arc given in “1 Henry VI.” as “the darkest blot upon the poet’s genius,” but it must be remembered that we have only expressed the current belief of his day – the English vulgar having regarded her as a sorceress, the French as an inspired heroine. Talbot is represented as accusing her of being a witch, serving the Evil One, and entering Rouen by means of her sorceries (iii. 2):

      Further on (v. 3) she is made to summon fiends before her, but she wishes them in vain, for they speak not, hanging their heads in sign of approaching disaster.

      But she adds:

      Finally, convicted of practising sorcery, and filling “the world with vicious qualities,” she was condemned to be burned. Her death, however,

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