The Mystery of Witchcraft - History, Mythology & Art. William Godwin

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The Mystery of Witchcraft - History, Mythology & Art - William Godwin

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an infant.

      In this narrative we are presented with a lively picture of the means by which ambition climbed to its purposes in the darkness of the tenth century. Dunstan was enriched with all those endowments which might seem in any age to lead to the highest distinction. Yet it would appear to have been in vain that he was thus qualified, if he had not stooped to arts that fell in with the gross prejudices of his contemporaries. He had continual recourse to the aid of miracles. He gave into practices of the most rigorous mortification. He studied, and excelled in, all the learning and arts that were then known. But his main dependence was on the art of magic. The story of his taking the devil by the nose with a pair of red-hot tongs, seems to have been of greater service to him than any other single adventure of his life. In other times he might have succeeded in the schemes of his political ambition by seemly and specious means. But it was necessary for him in the times in which he lived, to proceed with eclat, and in a way that should confound all opposers. The utmost resolution was required to overwhelm those who might otherwise have been prompted to contend against him. Hence it appears that he took a right measure of the understanding of his contemporaries, when he dragged the young king from the scene of his retirement, and brought him back by force into the assembly of the nobles. And the inconceivable barbarity practised to the queen, which would have rendered his name horrible in a more civilised age, was exactly calculated to overwhelm the feelings and subject the understandings of the men among whom he lived. The great quality by which he was distinguished was confidence, a frame of behaviour which shewed that he acted from the fullest conviction, and never doubted that his proceedings had the immediate approbation of heaven.

      Communication of Europe and the Saracens

       Table of Contents

      It appears to have been about the close of the tenth century that the more curious and inquisitive spirits of Europe first had recourse to the East as a source of such information and art, as they found most glaringly deficient among their countrymen. We have seen that in Persia there was an uninterrupted succession of professors in the art of magic: and, when the followers of Mahomet by their prowess had gained the superiority over the greater part of Asia, over all that was known of Africa, and a considerable tract of Europe, they gradually became awake to the desire of cultivating the sciences, and in particular of making themselves masters of whatever was most liberal and eminent among the disciples of Zoroaster. To this they added a curiosity respecting Greek learning, especially as it related to medicine and the investigation of the powers of physical nature. Bagdad became an eminent seat of learning; and perhaps, next to Bagdad, Spain under the Saracens, or Moors, was a principal abode for the professors of ingenuity and literature.

      Gerbert, Pope Silvester Ii.

      Benedict the Ninth.

      Gregory the Seventh.

      Benno presents us with a regular catalogue of the ecclesiastical sorcerers of this period: Benedict the Ninth, and Laurence, archbishop of Melfi, (each of whom, he says, learned the art of Silvester), John XX and Gregory VI. But his most vehement accusations are directed against Gregory VII, who, he affirms, was in the early part of his career, the constant companion and assistant of these dignitaries in unlawful practices of this sort.

      Gregory VII, whose original name was Hildebrand, is one of the great champions of the Romish church, and did more than any other man to establish the law of the celibacy of the clergy, and to take the patronage of ecclesiastical

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