1604년 반주술/마술법령과 극장
Anti-Witchcraft/Magic Laws of 1604 and the English Theater
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This essay brings a longue durée perspective of early modern magic, both popular and ecclesiastical, to bear on the discussion of the anti-witchcraft/magic laws legislated in 1604 and the preceding possession scares of the late Elizabethan period. The witchcraft scares during the Queen’s reign galvanized England’s parliamentary classes into legislating a witchcraft statute apparently accommodating early modern demonologists’ call to punish the cunning folk, or the practitioners of benign forms of magic, with a capital sentence. Canon 72 of the church establishment, on the other hand, responded to the same crisis by banning unlicensed fasting and prayer, theorized by the puritan exorcist John Darrell as an efficacious means of dispossessing demoniacs in particular and, more generally, seeking divine help in otherwise hopeless misfortunes. The Canon was thus a politically motivated attempt to stifle the growth of fasting and prayer as a potential puritan substitute for popular magic. I demonstrate how the co-existence of the two laws potentially created a historical antinomy in which Parliament empowered witchcraft by demonizing it even while the established church renounced ecclesiastical means of combatting it. The coexistence of the rival orthodoxies and the politicization of witchcraft created a situation that dramatists could benefit from, especially in their self-fashioning as advocates of the established order against the puritan irrationalism. Ben Jonson’s The Alchemist and Thomas Middleton’s The Puritan Widow, I argue, demonstrates how the dramatists reduce credulity in witchcraft as reinforced by the 1604 witchcraft statute to a puritan aberration requiring correction by comic satire and the practical scepticism that Canon 72 encouraged.
Abstract
This essay brings a longue durée perspective of early modern magic, both popular and ecclesiastical, to bear on the discussion of the anti-witchcraft/magic laws legislated in 1604 and the preceding possession scares of the late Elizabethan period. The witchcraft scares during the Queen’s reign galvanized England’s parliamentary classes into legislating a witchcraft statute apparently accommodating early modern demonologists’ call to punish the cunning folk, or the practitioners of benign forms of magic, with a capital sentence. Canon 72 of the church establishment, on the other hand, responded to the same crisis by banning unlicensed fasting and prayer, theorized by the puritan exorcist John Darrell as an efficacious means of dispossessing demoniacs in particular and, more generally, seeking divine help in otherwise hopeless misfortunes. The Canon was thus a politically motivated attempt to stifle the growth of fasting and prayer as a potential puritan substitute for popular magic. I demonstrate how the co-existence of the two laws potentially created a historical antinomy in which Parliament empowered witchcraft by demonizing it even while the established church renounced ecclesiastical means of combatting it. The coexistence of the rival orthodoxies and the politicization of witchcraft created a situation that dramatists could benefit from, especially in their self-fashioning as advocates of the established order against the puritan irrationalism. Ben Jonson’s The Alchemist and Thomas Middleton’s The Puritan Widow, I argue, demonstrates how the dramatists reduce credulity in witchcraft as reinforced by the 1604 witchcraft statute to a puritan aberration requiring correction by comic satire and the practical scepticism that Canon 72 encouraged.
참고문헌 (30)
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