La Sorciere: The Witch of the Middle Ages Part 12

CHAPTER XI.

THE REBELS' COMMUNION--SABBATHS--THE BLACK Ma.s.s.

We must now speak of the _Sabbaths_; a word which at different times clearly meant quite different things. Unhappily, we have no detailed accounts of these gatherings earlier than the reign of Henry IV.[52]

By that time they were nothing more than a great lewd farce carried on under the cloak of witchcraft. But these very descriptions of a thing so greatly corrupted are marked by certain antique touches that tell of the successive periods and the different forms through which it had pa.s.sed.

[52] The least bad of these is by Lancre, a man of some wit, whose evident connection with some young witches gave him something to say. The accounts of the Jesuit Del Rio and the Dominican Michaelis are the absurd productions of two credulous and silly pedants.

We may set out with this firm idea that, for many centuries, the serf led the life of a wolf or a fox; that he was _an animal of the night_, moving about, I may say, as little as possible in the daytime, and truly living in the night alone.

Still, up to the year 1000, so long as the people made their own saints and legends, their daily life was not to them uninteresting.

Their nightly Sabbaths were only a slight relic of paganism. They held in fear and honour the Moon, so powerful over the good things of earth. Her chief worshippers, the old women, burn small candles to _Dianom_--the Diana of yore, whose other names were Luna and Hecate.

The Lupercal (or wolf-man) is always following the women and children, disguised indeed under the dark face of ghost Hallequin (Harlequin).

The Vigil of Venus was kept as a holiday precisely on the first of May. On Midsummer Day they kept the Sabaza by sacrificing the he-goat of Bacchus Sabasius. In all this there was no mockery; nothing but a harmless carnival of serfs.

But about the year 1000 the church is well-nigh shut against the peasant through the difference between his language and hers. By 1100 her services became quite unintelligible. Of the mysteries played at the church-doors, he has retained chiefly the comic side, the ox and the a.s.s, &c. On these he makes Christmas carols, which grow ever more and more burlesque, forming a true Sabbatic literature.

Are we to suppose that the great and fearful risings of the twelfth century had no influence on these mysteries, on this night-life of the _wolf_, the _game bird_, the _wild quarry_. The great sacraments of rebellion among the serfs, when they drank of each other's blood, or ate of the ground by way of solemn pledge,[53] may have been celebrated at the Sabbaths. The "Ma.r.s.eillaise" of that time, sung by night rather than day, was perhaps a Sabbatic chant:--

"Nous sommes hommes commes ils sont!

Tout aussi grand cur nous avons!

Tout autant souffrir nous pouvons!"[54]

[53] At the battle of Courtray. See also Grimm and my _Origines_.

[54]

"We are fashioned of one clay: Big as theirs our hearts are aye: We can bear as much as they."--TRANS.

But the tombstone falls again in 1200. Seated thereon the Pope and the King, with their enormous weight, have sealed up man. Has he now his old life by night? More than ever. The old pagan dances must by this time have waxed furious. Our negroes of the Antilles, after a dreadful day of heat and hard work, would go and dance away some four leagues off. So it was with the serf too. But with his dances there must have mingled a merriment born of revenge, satiric farces, burlesques and caricatures of the baron and the priest: a whole literature of the night indeed, that knew not one word of the literature of the day, that knew little even of the burgher Fabliaux.

Of such a nature were the Sabbaths before 1300. Before they could take the startling form of open warfare against the G.o.d of those days, much more was needed still, and especially these two things: not only a descending into the very depths of despair, but also _an utter losing of respect for anything_.

To this pa.s.s they do not come until the fourteenth century, under the Avignon popes, and during the Great Schism; when the Church with two heads seems no longer a church; when the king and all his n.o.bles, being in shameful captivity to the English, are extorting the means of ransom from their oppressed and outraged people. Then do the Sabbaths take the grand and horrible form of the _Black Ma.s.s_, of a ritual upside down, in which Jesus is defied and bidden to thunder on the people if He can. In the thirteenth century this devilish drama was still impossible, through the horror it would have caused. And later again, in the fifteenth, when everything, even suffering itself, had become exhausted, so fierce an outburst could not have issued forth; so monstrous an invention no one would have essayed. It could only have belonged to the age of Dante.

It took place, I fancy, at one gush; an explosion as it were of genius raving, bringing impiety up to the height of a great popular pa.s.sion-fit. To understand the nature of these bursts of rage, we must remember that, far from imagining the fixedness of G.o.d's laws, a people brought up by their own clergy to believe and depend on miracles, had for ages past been hoping and waiting for nothing else than a miracle which never came. In vain they demanded one in the desperate hour of their last worst strait. Heaven thenceforth appeared to them as the ally of their savage tormentors, nay, as itself a tormentor too.

Thereon began the _Black Ma.s.s_ and the _Jacquerie_.[55]

[55] The Peasants' war which raged in France in 1364.

In the elastic sh.e.l.l of the Black Ma.s.s, a thousand variations of detail may afterwards have been inserted; but the sh.e.l.l itself was strongly made and, in my opinion, all of one piece.

This drama I succeeded in reproducing in my "History of France," in the year 1857. There was small difficulty in casting it anew in its four acts. Only at that time I left in it too many of the grotesque adornments which clothed the Sabbath of a later period; nor did I clearly enough define what belonged to the older sh.e.l.l, so dark and dreadful.

Its date is strongly marked by certain savage tokens of an age accursed, and yet more by the ruling place therein a.s.signed to woman, a fact most characteristic of the fourteenth century.

It is strange to mark how, at that period, the woman who enjoys so little freedom still holds her royal sway in a hundred violent fashions. At this time she inherits fiefs, brings her kingdoms to the king. On the lower levels she has still her throne, and yet more in the skies. Mary has supplanted Jesus. St. Francis and St. Dominic have seen the three worlds in her bosom. By the immensity of her grace she washes away sin; ay, and sometimes helps the sinner,--as in the story of a nun whose place the Virgin took in the choir, while she herself was gone to meet her lover.

Up high, and down very low, we see the woman. Beatrice reigns in heaven among the stars, while John of Meung in the _Romaunt of the Rose_ is preaching the community of women. Pure or sullied, the woman is everywhere. We might say of her what Raymond Lulle said of G.o.d: "What part has He in the world? The whole."

But alike in heaven and in poetry the true heroine is not the fruitful mother decked out with children; but the Virgin, or some barren Beatrice, who dies young.

A fair English damsel pa.s.sed over into France, it is said, about the year 1300, to preach the redemption of women. She looked on herself as their Messiah.

In its earliest phase the Black Ma.s.s seemed to betoken this redemption of Eve, so long accursed of Christianity. The woman fills every office in the Sabbath. She is priestess, altar, pledge of holy communion, by turns. Nay, at bottom, is she not herself as G.o.d?

Many popular traits may be found herein, and yet it comes not wholly from the people. The peasant who honoured strength alone, made small account of the woman; as we see but too clearly in our old laws and customs. From him the woman would not have received the high place she holds here. It is by her own self the place is won.

I would gladly believe that the Sabbath in its then shape was woman's work, the work of such a desperate woman as the Witch was then. In the fourteenth century she saw open before her a horrible career of torments lighted up for three or four hundred years by the stake.

After 1300 her medical knowledge is condemned as baleful, her remedies are proscribed as if they were poisons. The harmless drawing of lots, by which lepers then thought to better their luck, brought on a ma.s.sacre of those poor wretches. Pope John XXII. ordered the burning of a bishop suspected of Witchcraft. Under a system of such blind repression there was just the same risk in daring little as in daring much. Danger itself made people bolder; and the Witch was able to dare anything.

Human brotherhood, defiance of the Christian heaven, a distorted worship of nature herself as G.o.d--such was the purport of the Black Ma.s.s.

They decked an altar to the arch-rebel of serfs, _to Him who had been so wronged_, the old outlaw, unfairly hunted out of heaven, "the Spirit by whom earth was made, the Master who ordained the budding of the plants." Such were the names of honour given him by his worshippers, the _Luciferians_, and also, according to a very likely opinion, by the Knights of the Temple.

The greatest miracle of those unhappy times is, the greater abundance found at the nightly communion of the brotherhood, than was to be found elsewhere by day. By incurring some little danger the Witch levied her contributions from those who were best off, and gathered their offerings into a common fund. Charity in a Satanic garb grew very powerful, as being a crime, a conspiracy, a form of rebellion.

People would rob themselves of their food by day for the sake of the common meal at night.

Figure to yourself, on a broad moor, and often near an old Celtic cromlech, at the edge of a wood, this twofold scene: on one side a well-lit moor and a great feast of the people; on the other, towards yon wood, the choir of that church whose dome is heaven. What I call the choir is a hill commanding somewhat the surrounding country.

Between these are the yellow flames of torch-fires, and some red brasiers emitting a fantastic smoke. At the back of all is the Witch, dressing up her Satan, a great wooden devil, black and s.h.a.ggy. By his horns, and the goatskin near him, he might be Bacchus; but his manly attributes make him a Pan or a Priapus. It is a darksome figure, seen differently by different eyes; to some suggesting only terror, while others are touched by the proud melancholy wherein the Eternally Banished seems absorbed.[56]

[56] This is taken from Del Rio, but is not, I think, peculiar to Spain. It is an ancient trait, and marked by the primitive inspiration.

Act First. The magnificent _In troit_ taken by Christendom from antiquity, that is, from those ceremonies where the people in long train streamed under the colonnades on their way to the sanctuary, is now taken back for himself by the elder G.o.d upon his return to power.

The _Lavabo_, likewise borrowed from the heathen l.u.s.trations, reappears now. All this he claims back by right of age.

His priestess is always called, by way of honour, the Elder; but she would sometimes have been young. Lancre tells of a witch of seventeen, pretty, and horribly savage.