During the Victorian era, witches were a subject of fascination and fear. The Victorian era, which spanned from 1837 to 1901, was characterized by strict social norms and a rigid adherence to morality. In this atmosphere, witchcraft became a source of both fascination and anxiety for the Victorians. Witchcraft during this period was considered to be a dark and supernatural practice that went against the societal expectations of proper behavior. Witches were seen as powerful individuals who possessed magical abilities and often used them for harm. The fear of witchcraft was deeply rooted in the religious beliefs of the time, with many people believing that witches were in league with the devil.
In the Portland Oregonian in 1892 an article discussed hypnotism and puppetry: “It will be remembered that the genuine “witches” of the Puritan era had, or were alleged to have had, a tantalizing habit of maltreating their victims by making little dolls or “poppets,” as they were called, giving them the names of the persons whom they wished to persecute, and then sticking pins in them”. Though aged by the time of authorship, such methods had persisted – albeit evolving over time. The column describes how a Dr. Luys “claimed to have succeeded in transferring the sensibilities of a hypnotized person to an inanimate object”. Apparently, he managed to place a woman’s mind into a glass of water, who winced when the water was touched or drank. Thus, it becomes clear that these supernatural methods and views survived the century, though evolved to mirror the trends of the times.
The writing is useful in showing contemporarily agreed constants of witchcraft; Little as we are initiated into the secrets of magic, we know that odd numbers, and especially the number three, have singular virtues; therefore, three, multiplied by three, must be a number prodigiously powerful. According to Anne, she acted out of defence; The defendant fancied that she was bewitched by the complainant, and determined to draw blood as the approved method of dispelling the witchcraft.
The fear of witchcraft was deeply rooted in the religious beliefs of the time, with many people believing that witches were in league with the devil. The image of the witch during the Victorian era was heavily influenced by popular literature and art. Often portrayed as elderly women with wrinkled faces, crooked noses, and pointy hats, these depictions reinforced the idea of the witch as a sinister figure.
Double, double, toil and trouble Witchcraft methodology in nineteenth-century Britain and the U.S.
│By André Buller, Gale Ambassador at the University of Portsmouth │ Ideas of sorcery, witchcraft and incantations have persisted in intriguing me throughout my years of study. The ways in which the supernatural arose and manifested alongside historical events has always fascinated me, and consequently I’ve found myself studying subjects that considered the mystical in both the literary and historical units of my degree. The topics I’ve studied in these classes have ranged as widely as manifestations of the supernatural have in the past. One week I’d study the seventeenth century, witch-hunts of Salem and the pursuits of Matthew Hopkins, but by the next week be focusing on the rise of Occultism. Though definitely interesting, the famous contention between sceptical magician Harry Houdini and stalwart believer Arthur Conan Doyle did not discuss specific methods of magical practise at that time, leaving something of a gap in my knowledge of how the mysticality of witchcraft persisted in the nineteenth century. However, Gale Primary Sources proved bountiful once again, and through exploring this wealth of documents it is possible to answer methodological questions – such as how people cast spells – to those of a more analytical nature, such as how witchcraft was defined in the Victorian era. Bodily Magic A notable distinction I found in the sources were those that discussed witchcraft in relation to the body, either inflicted upon or released from it. The Morning Chronicle of 1828, one of the periodicals in Gale’s British Library Newspapers collection, describes the actions of one Rose Pares, who “enjoyed the reputation of being a witch,” as she treated an ill peasant girl. Marching into the room, Rose was swift to diagnose the child as “bewitched” before ordering those present to help her arrange the room for her magic. The writing is useful in showing contemporarily agreed constants of witchcraft; “Little as we are initiated into the secrets of magic, we know that odd numbers, and especially the number three, have singular virtues; therefore, three, multiplied by three, must be a number prodigiously powerful.” For this reason, the witch used nine heated stones to make a mystical vapour, before using coins to extract the spiritual malevolence from the girl’s body.
“CASE OF WITCHCRAFT.” Morning Chronicle [1801], 28 Sept. 1829. British Library Newspapers, http://tinyurl.galegroup.com/tinyurl/8AAYQ3#.XGq77cQL-Yc.link
Similarly, in 1848, the Boston Investigator, a periodical in Nineteenth Century U.S. Newspapers, provides more magical constants that witchcraft ascribed to the body. It describes the energies that emit from the body, as a form called “effluvia,” and determines that the eye, an imperative tool in the craft of sorcery, manipulates and slings this energy in order to cast spells. In these ways, methods of witchcraft persisted through relation to physical needs and attributes, either in illness or in physiology.
“Witchcraft.” Boston Investigator, 12 Jan. 1848. Nineteenth Century U.S. Newspapers, http://tinyurl.galegroup.com/tinyurl/99LZj9#.XGq7mB87H3I.link
Occult ideas In addition to physicality, witchcraft methodology often found itself inexorably linked to idiosyncratic ideas of occultism. For example, Gale’s Nineteenth Century U.S. Newspapers archive includes an article from 1851 that described supernatural communication in occultist terms, linking interactions with “spirits” to certain sounds and knocks. Individuals would “establish confidence” in a “guardian spirit”, using pencils and sounds to inquire questions toward the supernatural entity from beyond the grave. Indeed, nineteenth century preternatural methodology built upon a mixture of such occultist and traditional ‘witchy’ concepts.
“Spirit Rappings.” Cleveland Daily Herald, 21 Feb. 1851. Nineteenth Century U.S. Newspapers, http://tinyurl.galegroup.com/tinyurl/8AAhD1#.XGrDw5ALT38.link
In the Portland Oregonian in 1892 an article discussed hypnotism and puppetry: “It will be remembered that the genuine “witches” of the Puritan era had, or were alleged to have had, a tantalizing habit of maltreating their victims by making little dolls or “poppets,” as they were called, giving them the names of the persons whom they wished to persecute, and then sticking pins in them”. Though aged by the time of authorship, such methods had persisted – albeit evolving over time. The column describes how a Dr. Luys “claimed to have succeeded in transferring the sensibilities of a hypnotized person to an inanimate object”. Apparently, he managed to place a woman’s mind into a glass of water, who winced when the water was touched or drank. Thus, it becomes clear that these supernatural methods and views survived the century, though evolved to mirror the trends of the times.
“Modern ‘Witchcraft’.” Portland Oregonian [Oregon Territory], 22 Dec. 1892, p. 4. Nineteenth Century U.S. Newspapers, http://tinyurl.galegroup.com/tinyurl/99LZ48#.XGrFKYuTp5g.link
Undeniable humanity Though supernatural methods shifted in mysticism, in some ways witchcraft remained a distinctly human affair. Recorded in the British Library Newspapers archive is the violence of Annie Gilroy, who was charged with assaulting Jane Forden in 1874. According to Anne, she acted out of defence; “The defendant fancied that she was “bewitched” by the complainant, and determined to “draw blood” as the approved method of dispelling the witchcraft. This she succeeded in doing by committing the assault.” Though there is no real supernatural discussion, Anne felt she could make the case for her actions with witchcraft, giving credence to the idea that it was, at least to some extent, still a believed phenomenon with rules and exceptions to subvert.
Additionally, witches were often associated with broomsticks and cauldrons, further adding to their mystique. The fear of witches led to a number of witch trials and persecution during the Victorian era. Although not as widespread as the infamous witch trials of the earlier centuries, there were still cases where individuals, mostly women, were accused of witchcraft and subjected to trials. These trials often resulted in harsh punishments, including imprisonment and even death. However, it is important to note that the Victorian era also saw a growing interest in the occult and mysticism. While society at large condemned the practice of witchcraft, some individuals, especially members of the upper classes, secretly dabbled in esoteric practices and explored the supernatural. This interest in the occult can be seen in the popularity of books and magazines on magic and spiritualism during the period. The fascination with witches during the Victorian era also extended to popular entertainment. Gothic novels, such as Mary Shelley's "Frankenstein" and Bram Stoker's "Dracula," often featured witches or witch-like characters. Additionally, the theater saw an increase in productions that featured witches as the central antagonists. In conclusion, the Victorian era was a time of fascination and fear regarding witches. Although society condemned the practice of witchcraft, the image of the witch persisted in popular culture, literature, and art. The fear of witchcraft led to persecution and trials, but it also fueled a growing interest in the occult and mysticism that would continue to shape the Victorian era..
Reviews for "Understanding Victorian Era Witches: Myth vs. Reality"
1. Emma - 2 stars
I was really disappointed with "Victorian era witches". While the premise seemed intriguing, the execution fell flat. The characters were one-dimensional and lacked depth, making it hard to connect with any of them. The plot was also predictable and lacked originality. Overall, I found myself bored and uninterested throughout the book, and I wouldn't recommend it to anyone looking for a captivating read.
2. Mark - 1 star
I can't even begin to express my disappointment with "Victorian era witches". Not only was it poorly written, with numerous grammatical errors and awkward sentence structures, but the story itself was uneventful and uninteresting. The pacing was slow, and the supposed twists were predictable. The author failed to create any sense of suspense or build-up, leaving me feeling unsatisfied and unengaged. I regret wasting my time on this book and would not recommend it to anyone.
3. Sarah - 2 stars
I had high hopes for "Victorian era witches" but unfortunately, it didn't live up to the hype. The plot was convoluted and messy, with too many subplots and unnecessary details that took away from the main story. The writing style was also inconsistent, making it hard to follow the narrative. Additionally, the character development was lacking, and I found it hard to care about any of them. Overall, I found this book confusing and underwhelming, and I wouldn't recommend it to fans of the genre.
4. Tom - 3 stars
"Victorian era witches" had a lot of potential, but it fell short in several areas. While the historical setting was well-researched and portrayed, the plot lacked excitement and failed to hold my interest. The pacing was uneven, with long stretches of little action followed by rushed and poorly developed climactic scenes. The characters were also underdeveloped, leaving me feeling disconnected from their struggles and motivations. Overall, I found this book to be mediocre at best, and I wouldn't recommend it to anyone looking for a captivating witch-centered story set in the Victorian era.