Lilith and Eve: Part Two

(c) Manchester City Galleries; Supplied by The Public Catalogue Foundation

John Roddam Spencer Stanhope

In the Christian version of Genesis, Adam (meaning literally “man”) is the perfect model of strength and beauty.  He donates a rib to create a submissive partner, the naïve Eve. They dwell in the Garden of Eden with two special trees – the Tree of Knowledge (which gives the wisdom to uncover good and evil) and the Tree of Life (which grants immortality).  Eve is tempted by the devil (in the guise of the serpent) to eat from the forbidden Tree of Knowledge and is then expelled from paradise alongside her mate, cutting off the Tree of Life and making them both mortal.

Eve, the first woman deceived by a sweet-talking male, becomes the original mother of mankind.  In the beginning she is a daughter of nature – a creature half-way between animal and man – beautiful, sensual, emotional, but also fickle, stupid, and weak.  This archetypal woman soon becomes the victim, the first person seduced by Satan and therefore the first witch.  Indeed, in early iconography, Eve is even physically linked with the serpent through her long twisting hair.

Eve sins in multiple ways – by disobeying God and rejecting divine authority, going her own way, and in seeking the wisdom of the male Gods – implying that all the evil, death, and suffering in the world comes from disobeying your master.  Naïve woman is blamed for the Fall, a typical psychological projection onto a convenient scapegoat.

At some point Lilith became entwined with Eve in the minds of the early Christian commentators.  Instead of a masculine Satan being culpable for Eve’s ruin, Lilith is associated with the snake in Genesis 3 – a female demon who tempts Eve into rebellion.  Even John Milton alludes to the “snake witch” in Paradise Lost.  Thereafter, the gullible Eve is portrayed as a calculating, evil, seductress, and the source of man’s carnal desire.

And because the first woman committed the primal sin, all females were forever to be held accountable.  For centuries they were considered subservient, lustful, untrustworthy, base, unintelligent, and sly.  Small wonder that so many of the witches executed in the Burning Times were female!

Sources:

Brunel, Pierre.  Companion to Literary Myths, Heroes, and Archetypes.  London and New York: Routledge, 1996.

Merriam-Webster’s Encyclopedia of World Religions.  Massachusetts: Merriam-Webster, 1999.

Witcombe, Christopher:  “Eve and the Identity of Women” (7) http://witcombe.sbc.edu/eve-women/7evelilith.html

Lilith and Eve: Part One

 

Lilith Dante Gabriel Rossetti

According to the Jewish Midrash’s  explanation for the two separate accounts of the Creation Story, Adam’s first wife was a woman called Lilith.  She was made of the same soil as man and therefore was his equal.  But when Adam tried to dominate Lilith she rebelled, fled the Garden of Eden, and abandoned her mate to consort with more submissive demons instead.  So God created another mate for Adam and called her Eve.

From the Sixth Century BC, Lilith was portrayed as a female demon who killed infants and threatened women in childbirth, and perhaps because of this association the scriptures began partnering Lilith with Samael (Satan), making her the Queen of Evil.  Her Hebrew name translates into “night creature,” “night monster,” “night hag,” and “screech owl” – and only the three angels Senoy, Sansenoy, and Semangelof can protect against her wicked powers.

In the Middle Ages the Catholic Church identified Lilith (and her daughters, the Lilim) with female succubae – demons who copulate with sleeping men, causing their erotic dreams.  Contrasting with the pure, submissive, Holy Mother, Lilith was a disobedient, lustful sinner who used her sexuality to seduce and ruin men.  Her evil stems from being willful – a dangerous threat to patriarchal order and stability.

Mirrors were the direct entrance into Lilith’s realm.  Vanity allowed Lilith and her daughters to enter an unsuspecting maiden through her eyes, then lure her into all manner of wild, promiscuous behavior.

In some cultures Lilith is the wind-witch.  She brings storms, sickness, and nighttime predators.  She is bird-like – often depicted with talons and wings – and the name Lil is also associated with the Sumerian word for “wind”‘ “air,” or “storm.”

Today, however, some wiccans and occultists worship Lilith as the “first mother.”

 

Sources:

Brunel, Pierre.  Companion to Literary Myths, Heroes, and Archetypes.  London and New York: Routledge, 1996.

Merriam-Webster’s Encyclopedia of World Religions.  Massachusetts: Merriam-Webster, 1999.

Witcombe, Christopher:  “Eve and the Identity of Women” (7) http://witcombe.sbc.edu/eve-women/7evelilith.html

 

Kit’s Crit: The Daylight Gate (Jeanette Winterson)

Winterson

Starting from the assumption that Jacobean Lancashire was a rebel Catholic stronghold in a Protestant country, Jeanette Winterson’s version of the most famous English witch trials is quite unlike any other.  The Daylight Gate is a novella – not the hefty Victorian saga first told by Harrison Ainsworth – and it often strays away from the recorded historical facts.  Indeed, this book examines witchcraft and Catholicism as “matters treasonable and diabolical” in an impressionistic, modernist manner, which culminates in a broody tale where events appear blurred by the mists of time.

 Winterson takes a lot of poetic license with the facts as they are recorded in the trial documents, inventing new players, and placing famous people of that era in implausible situations.  Her Alice Nutter – the central character she admits is not true to the actual historical figure – is lured into witchcraft, knows William Shakespeare and the magician John Dee, appears younger than the matron who was actually executed, and is bisexual. Yet at the same time Justice Roger Nowell, who led the puritanical crusade against the local cunning folk, gets painted in an unexpectedly sympathetic light.

However, Winterson’s rough characters and brutal situations are credible for that time, area, and circumstance.  And she deftly strips away the romanticism found in some of the earlier novels based on these same events.  I particularly admire her intelligent justification for the motives and causes behind the three remaining puzzles: Why was a gentlewoman of Mistress Nutter’s rank convicted alongside the common poor?  Why did nine-year-old Jennet Device betray her entire family?  And why did some of the accused willingly confess to diabolical crimes?  Winterson has obviously considered these questions and reached her own conclusions about the excitement, hysteria, and sexual opportunities that open up during a witch hunt.  And while she does not dwell on the misogynist drive that fuelled men like Nowell, she does address the other power imbalances associated with gender, wealth, and rank.

I appreciate Winterson’s sparse, poetic technique that functions like a series of flashbacks to a dangerous, incomprehensible era that was ripe with suspicion and superstition – a place where poor women did what was necessary to survive.  Because they had no control over the real world they “must get what power they can in theirs,” though this is not a feel-good fairy tale where everyone lives happily ever after.

If you like intensity, and are open to magical realism, The Daylight Gate is an interesting introduction to the Pendle Witches.  But it is ultimately more of a literary horror story than a traditional historical fiction.

The Goddess Within

 goddess

When they thought us wicked, we were really wise

In the Burning Times of world despise,

They named us as tricksters, blamed things dark and worse,

Called cunning and wile a demon’s curse.

Heaven and the Underworld, summoned at will,

Crept on cat-paws to nurture or thrill,

Reading vain futures – balancing humors –

Attending births and healing tumors.

Folklore has always survived the Dark Ages . . .

They’ll never destroy the timeless Sages.

 

 

Olde English Sherry Trifle

Trifle

This traditional Sherry Trifle is intended for adults.  For a non-alcoholic version omit the sherry.  Another adaptation can be made by leaving out the jelly / Jello layer.  They all taste fabulous!

Ingredients

1 family-size raspberry jam Swiss-roll cake

1 sherry glass of sweet sherry

1 pint of raspberry jelly / Jello (made from blocks or powder)

1/2 Ib (one small punnet or tub) fresh raspberries

1 pint of homemade vanilla custard (or Bird’s instant custard powder mix)

1 pint heavy or whipping cream

Chopped nuts, candied fruit slices, chocolate flakes, or ice-cream sprinkles for decoration

Method

1. Mix up the jelly / Jello and leave to cool in a jug.

2. Make the custard and  cool in a pan away from the stove.

3. Line a large glass bowl with the halved slices of the Swiss-roll cake.

4. Pour the sherry evenly over the sponge.

5. Wash the fresh raspberries and add on the top of the cake.

6. Pour the cooled jelly /Jello over the fruit and sponge.  Place in the refrigerator to set.

7.  When the custard is cold carefully remove the skin from the top and discard.  Spoon the custard onto the chilled jelly mix and spread evenly over the top.  Chill in the refrigerator for about one hour.

8. Whip the cream into peaks.  Spoon onto the  cold custard layer.  Using a fork, spread the topping evenly in a pleasing design.

9. Decorate with the nuts, fruit slices, chocolate flakes, or ice-cream sprinkles.

10. Keep the in the refrigerator until ready to serve.