Curiosities of Olden Times E-Book

S. Baring Gould

• Herausgeber: S. Baring Gould
• Kategorie: Poesie und Drama
• Sprache: Englisch

Veröffentlichungsjahr: 2017

Beschreibung

Rev. Sabine Baring-Gould (28 January 1834 – 2 January 1924) of Lew Trenchard in Devon, England, was an Anglican priest, hagiographer, antiquarian, novelist and eclectic scholar. His bibliography consists of more than 1240 publications, though this list continues to grow. His family home, the manor house of Lew Trenchard, near Okehampton, Devon, has been preserved as he had it rebuilt and is now a hotel. He is remembered particularly as a writer of hymns, the best-known being "Onward, Christian Soldiers" and "Now the Day Is Over". He also translated the carol "Gabriel's Message" from the Basque language to English.

Leseprobe

Curiosities of Olden Times

S. Baring-Gould

Table of Contents

Preface

The Meaning of Mourning

Curiosities of Cypher

Strange Wills

Queer Culprits

Ghosts in Court

Strange Pains and Penalties

What are Women Made of?

“Flagellum Salutis”

“Hermippus Redivivus”

The Baroness De Beausoleil

Some Crazy Saints

The Jackass of Vanvres

A Mysterious Vale

King Robert of Sicily

Sortes Sacræ

Chiapa Chocolate

The Philosopher’s Stone

Preface

An antiquary lights on many a curiosity whilst overhauling the dusty tomes of ancient writers. This little book is a small museum in which I have preserved some of the quaintest relics which have attracted my notice during my labours. The majority of the articles were published in 1869. I have now added some others.

Lew Trenchard, September 1895.

The Meaning of Mourning

A strip of black cloth an inch and a half in width stitched round the sleeve—that is the final, or perhaps penultimate expression (for it may dwindle further to a black thread) of the usage of wearing mourning on the decease of a relative.

The usage is one that commends itself to us as an outward and visible sign of the inward sentiment of bereavement, and not one in ten thousand who adopt mourning has any idea that it ever possessed a signification of another sort. And yet the correlations of general custom—of mourning fashions, lead us to the inexorable conclusion that in its inception the practice had quite a different signification from that now attributed to it, nay more, that it is solely because its primitive meaning has been absolutely forgotten, and an entirely novel significance given to it, that mourning is still employed after a death.

Look back through the telescope of anthropology at our primitive ancestors in their naked savagery, and we see them daub themselves with soot mingled with tallow. When the savage assumed clothes and became a civilised man, he replaced the fat and lampblack with black cloth, and this black cloth has descended to us in the nineteenth century as the customary and intelligible trappings of woe.

The Chinaman when in a condition of bereavement assumes white garments, and we may be pretty certain that his barbarous ancestor, like the Andaman Islander of the present day, pipeclayed his naked body after the decease and funeral of a relative. In Egypt yellow was the symbol of sorrow for a death, and that points back to the ancestral nude Egyptian having smeared himself with yellow ochre.

Black was not the universal hue of mourning in Europe. In Castile white obtained on the death of its princes. Herrera states that the last time white was thus employed was in 1498, on the death of Prince John. This use of white in Castile indicates chalk or pipeclay as the daub affected by the ancestors of the house of Castile in primeval time as a badge of bereavement.

Various explanations have been offered to account for the variance of colour. White has been supposed to denote purity; and to this day white gloves and hat-bands and scarves are employed at the funeral of a young girl, as in the old ballad of “The Bride’s Burial”:—

A garland fresh and fair

Of lilies there was made,

In signs of her virginity,