The same fate, excepting the fearful penalty, awaited the second. And now, too late, the holy hermit became aware of his disastrous negligence. He strictly enjoined on the third and remaining sister a constant watch. Her security, however, was the cause of her betrayal. On one occasion, in a moment of remissness, she forgot her prayers and the sign of the cross, before retiring for the night. No longer excluded, the fiend, assuming human shape, effected his purpose. In due time a son was born, whose parentage was sufficiently evinced by an entire covering of black hair, although his limbs were well-formed, and his features fine. Fortunately, the careless guardian had exactly calculated the moment of the demon's birth; and no sooner was he informed of the event, than the new-born infant was borne off to the regenerating water, when he was christened by the name of Merlin; the fond hopes of the demons being for this time, at least, irretrievably disappointed. How Merlin, by superhuman prowess and knowledge, defeated the Saracens (Saxons) in many bloody battles; his magical achievements and favour at the court of King Vortigern and his successors, are fully exhibited by the author of the history.86 Geoffrey of Monmouth recounts them as matters of fact; and they are repeated by Vergil in the History of Britain, composed under the auspices of Henry VIII.
By the ancients, whole peoples were sometimes said to be derived from these unholy connections. Jornandes, the historian of the Goths, is glad to be able to relate their hated rivals, the Huns (of whom the Kalmuck Tartars are commonly said to be the modern representatives), to have owed their origin to an intercourse of the Scythian witches with infernal spirits. The extraordinary form and features of those dreaded emigrants from the steppes of Tartary, had suggested to the fear and hatred of their European subjects, a fable which Gibbon supposes might have been derived from a more pleasing one of the Greeks.87
The acts of Incubus assume an important part in witch-trials and confessions. Incubus is the visitor of females, Succubus of males. Chaucer satirises the gallantries of the vicarious Incubus by the mouth of the wife of Bath (that practical admirer of Solomon and the Samaritan woman),88 who prefaces her tale with the assurance:—
That maketh that ther ben no fayeries,
For ther as wont was to walken an elf
Ther walketh noon but the Lymitour himself.
* * * * *
Women may now go safely up and downe;
In every busch and under every tre
Ther is noon other Incubus but he.
Reginald Scot has devoted several chapters of his work to a relation of the exploits of Incubus.89 But he honestly warns his readers 'whose chaste ears cannot well endure to hear of such lecheries (gathered out of the books of divinity of great authority) to turn over a few leaves wherein I have, like a groom, thrust their stuff, even that which I myself loath, as into a stinking corner: howbeit none otherwise, I hope, but that the other parts of my writing shall remain sweet.' He repeats a story from the 'Vita Hieronymi,' which seems to insinuate some suspicion of the character of a certain Bishop Sylvanus. It relates that one night Incubus invaded a certain lady's bedroom. Indignant at so unusual, or at least disguised, an apparition, the lady cried out loudly until the guests of the house came and found it under the bed in the likeness of the bishop; 'which holy man,' adds Scot, 'was much defamed thereby.' Another tradition or legend seems to reflect upon the chastity of the greatest saint of the Middle Ages.90 The superhuman oppression of Incubus is still remembered in the proverbial language of the present day. The horrors of the infernal compacts and leagues, as exhibited in the fates of wizards or magicians at the last hour, formed one of the most popular scenes on the theatrical stage. Christopher Marlow, in 'The Life and Death of Dr. Faustus,' and Robert Greene, in 'Friar Bacon and Friar Bungay,' in the Elizabethan age, dramatised the common, conception of the Compact.
73. Ennemoser (History of Magic), a modern and milder Protestant, excepts to the general denunciations of Pope Innocent ('who assumed this name, undoubtedly, because he wished it to indicate what he really desired to be') by Protestant writers who have used such terms as 'a scandalous hypocrite,' 'a cursed war-song of hell,' 'hangmen's slaves,' 'rabid jailers,' 'bloodthirsty monsters,' &c.; and thinks that 'the accusation which was made against Innocent could only have been justly founded if the pope had not participated in the general belief, if he had been wiser than his time, and really seen that the heretics were no allies of the devil, and that the witches were no heretics.'
74. The complete title is 'MALLEUS MALEFICARUM in tres partes divisus, in quibus I. Concurrentia ad maleficia; II. Maleficiorum effectus; III. Remedia adversus maleficia. Et modus denique procedendi ac puniendi maleficas abunde continetur, præcipue autem omnibus inquisitoribus et divini verbi concionatoribus utilis et necessarius.' The original edition of 1489 is the one quoted by Hauber, Bibliotheca Mag., and referred to by Ennemoser, History of Magic.
75. Ennemoser's History of Magic. Translated by W. Howitt. There are three kinds of men whom witchcraft cannot touch—magistrates; clergymen exercising the pious rites of the Church; and saints, who are under the immediate protection of the angels.
76. Hutchinson's Historical Essay concerning Witchcraft, chap ii.
77. Canterbury Tales. T. Wright's Text. Chaucer, the English Boccaccio in verse, attacks alike with his sarcasms the Church and the female sex.
78. It is still the custom of the Tartar or Thibetian Lamas, or at least of some of them, to scatter charms to the winds for the benefit of travellers. M. Huc's Travels in Tartary, Thibet, &c.
79. The Anatomy of Melancholy, by Democritus junior; edited by Democritus minor. Part i. sect. 2. An equally copious and curious display of learning. Few authors, probably, have been more plagiarised.
80. Sismondi (Literature of the South of Europe) has observed of the greatest epic of the Middle Age, that 'Dante, in common with many fathers of the Church, under the supposition that paganism, in the persons of the infernal gods, represented the fallen angels, has made no scruple to adopt its fables.' Tasso, at a later period, introduces the deities of heathendom. In the Gerusalemme Liberata they sit in council to frustrate the plans and destroy the forces of the Christian leaders before Jerusalem (iv). Ismeno, a powerful magician in the ranks of the Turks, brings up a host of diabolic allies to guard the wood which supplied the infidels with materials for carrying on the siege of the city (xiii.). And the masterpieces of art of Guido or Raffaelle, which excite at once admiration and despair in their modern disciples, consecrated and immortalised the vulgar superstition.