“grease that’s sweaten
From the murderer’s gibbet.”
We may compare a similar notion given by Apuleius, who, in describing the process used by the witch, Milo’s wife, for transforming herself into a bird, says: “That she cut the lumps of flesh of such as were hanged.”66
Another way by which witches exercise their power was by looking into futurity, as in “Macbeth” (i. 3), where Banquo says to them:
“If you can look into the seeds of time,
And say which grain will grow and which will not,
Speak then to me.”
Charles Knight, in his biography of Shakespeare, quotes a witch trial, which aptly illustrates the passage above; the case being that of Johnnet Wischert, who was “indicted for passing to the green-growing corn in May, twenty-two years since, or thereby, sitting thereupon tymous in the morning before the sun-rising; and being there found and demanded what she was doing, thus answered, I shall tell thee; I have been piling the blades of the corn. I find it will be a dear year; the blade of the corn grows withersones [contrary to the course of the sun], and when it grows sonegatis about [with the course of the sun], it will be a good, cheap year.”
According to a common notion firmly believed in days gone by, witches were supposed to make waxen figures of those they intended to harm, which they stuck through with pins, or melted before a slow fire. Then, as the figure wasted, so the person it represented was said to waste away also. Thus, in “Macbeth” (i. 3), the first witch says:
“Weary sev’n-nights, nine times nine,
Shall he dwindle, peak, and pine.”
Referring to the histories of the Duchess of Gloucester and of Jane Shore, who were accused of practising this mode of witchcraft, Shakespeare, in “2 Henry VI.” (i. 2), makes the former address Hume thus:
“What say’st thou, man? hast them as yet conferr’d
With Margery Jourdain, the cunning witch,
With Roger Bolingbroke, the conjurer?
And will they undertake to do me good?”
She was afterwards, however, accused of consulting witches concerning the mode of compassing the death of her husband’s nephew, Henry VI. It was asserted that “there was found in the possession of herself and accomplices a waxen image of the king, which they melted in a magical manner before a slow fire, with the intention of making Henry’s force and vigor waste away by like insensible degrees.”
A similar charge was brought against Jane Shore, the mistress of Edward IV., by Richard, Duke of Gloucester. Thus, in “King Richard III.” (iii. 4), Gloucester asks Hastings:
“I pray you all, tell me what they deserve
That do conspire my death with devilish plots
Of damned witchcraft, and that have prevail’d
Upon my body with their hellish charms?”
And he then further adds:
“Look how I am bewitch’d; behold mine arm
Is, like a blasted sapling, wither’d up:
And this is Edward’s wife, that monstrous witch,
Consorted with that harlot, strumpet Shore,
That by their witchcraft thus have marked me.”
This superstition is further alluded to in “King John” (v. 4) by Melun, who, wounded, says:
“Have I not hideous death within my view,
Retaining but a quantity of life,
Which bleeds away, even as a form of wax
Resolveth from his figure ’gainst the fire?”
And, again, in “The Two Gentlemen of Verona” (ii. 4), Proteus says:
“for now my love is thaw’d;
Which, like a waxen image ’gainst a fire,
Bears no impression of the thing it was.”67
Images were frequently formed of other materials, and maltreated in some form or other, to produce similar results – a piece of superstition which still prevails to a great extent in the East. Dubois, in his “People of India” (1825), speaks of magicians who make small images in mud or clay, and then write the names of their animosity on the breasts thereof; these are otherwise pierced with thorns or mutilated, “so as to communicate a corresponding injury to the person represented.” They were also said to extract moisture from the body, as in “Macbeth” (i. 3):
“I will drain him dry as hay.”
Referring to the other mischievous acts of witches, Steevens quotes the following from “A Detection of Damnable Driftes Practised by Three Witches, etc., arraigned at Chelmisforde, in Essex, 1579:” “Item – Also she came on a tyme to the house of one Robert Lathburie, who, dislyking her dealyng, sent her home emptie; but presently after her departure his hogges fell sicke and died, to the number of twentie.” Hence in “Macbeth” (i. 3) in reply to the inquiry of the first witch:
“Where hast thou been, sister?”
the second replies:
“Killing swine.”
It appears to have been their practice to destroy the cattle of their neighbors, and the farmers have to this day many ceremonies to secure their cows and other cattle from witchcraft; but they seem to have been most suspected of malice against swine. Harsnet observes how, formerly, “A sow could not be ill of the measles, nor a girl of the sullens, but some old woman was charged with witchcraft.”68
Mr. Henderson, in his “Folk-Lore of the Northern Counties” (1879, p. 182), relates how a few years ago a witch died in the village of Bovey Tracey, Devonshire. She was accused of “overlooking” her neighbors’ pigs, so that her son, if ever betrayed into a quarrel with her, used always to say, before they parted, “Mother, mother, spare my pigs.”
Multiples of three and nine were specially employed by witches, ancient and modern. Thus, in “Macbeth” (i. 3), the witches take hold of hands and dance round in a ring nine times – three rounds for each witch, as a charm for the furtherance of her purposes:69
“Thrice to thine and thrice to mine,
And thrice again, to make up nine.
Peace! the charm’s wound up.”
The love of witches for odd numbers is further illustrated (iv. 1), where one of them tells how this being the witches’ way of saying four times.
“Thrice and once the hedge-pig whined,”
In Fairfax’s “Tasso” (book xiii. stanza 6) it is said that
“Witchcraft loveth numbers odd.”
This notion is very old, and we may compare the following quotations from Ovid’s “Metamorphoses” (xiv. 58):
“Ter novies carmen magico demurmurat ore.”
And, again (vii. 189-191):
“Ter se convertit; ter sumtis flumine