British Museum blog

On witchcraft

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode Toil and Trouble looks at a foiled plot to kill a Scottish king.

A church offering in the shape of a ship from Leith, Scotland, which is the object at the centre of today's programme. © National Museum of Scotland


Keith Thomas, historian

The key to understanding why people made witchcraft accusations lies in personal relationships in the villages and in the countryside. Typically, a witch was somebody who lived quite nearby and whom you had encountered. And typically that witch had a grievance. It wasn’t motiveless malignity, there was thought to be some good reason why the witch wanted to do you or your household harm.

Although there were lots of grievances, the most typical one was that the witch had come to the door begging for food or asking to borrow some household utensil and was turned away from the door and the next day the little child in the house fell ill or the wife was taken ill or somebody died. And, in my view, it was really the guilty conscience of the householder that led to the accusation because in those days borrowing and lending was an acknowledged neighbourly duty.

Why is it that witches were predominantly women? I think there is a combination of reasons for this. The first and perhaps most important reason is that old women, widows, were the most dependent members of the community. They are the ones whose names figure most frequently on the lists of people in receipt of poor relief, and they were the ones most likely to be caught up in this situation of begging for help and not getting it. But on top of that there was undoubtedly a feeling that women embodied some curious supernatural dimension. For example, the effects produced by a witch were more or less the same as those which were popularly attributed to a menstruating woman. When a woman was menstruating it was said – and this was even in the case in my boyhood, I grew up on a farm – that they shouldn’t come near the dairy because the butter wouldn’t set and that if they looked at a mirror they’d tarnish it.

In the later 17th century, the belief that old women could harm others supernaturally was beginning to wane among the educated clergy, gentry and academics in universities. At that stage there were those who felt that the belief in the existence and possibility of witchcraft was integral to establish religion because if you said there were no evil spirits at work, you were really denying some primary tenets of Christianity. You were saying effectively that there was no devil or that the devil had no physical powers, and by saying that you were suggesting that God couldn’t intervene in the world either. So a lot of people tried to prop up orthodox religion by reasserting the reality of witchcraft and investigating cases and publishing information about it and so on, to reassure people that the world really was a place where a great contest between good and evil spirits was occurring.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme Toil and Trouble

Find out more:

Religion and the Decline of Magic by Keith Thomas

Filed under: Shakespeare's Restless World, What's on

3 Responses - Comments are closed.

  1. ritaroberts says:

    I don’t think I would have liked living in the 17th century with all that witchcraft. I believe there are good witches today.

    Like

  2. mountainmae says:

    Fear based thinking is a frightening today as it was then.

    Like

  3. ounoginiri says:

    It’s very interesting how witchcraft has a different colour in different countries and geografic areas.

    Like

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Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
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#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum
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