Marvel and cringe at this collection of curious cases presented from a favorite Victorian volume. Tonight’s episode includes a bit of proto-Forteana, namely the anomolies left in the wake of a particular lightning strike that fell on a small town in Hertfordshire in 1777. We also have brief look at the wicked deeds of those popes the Catholic Church would rather forget about, and we close with two gruesome gustatory cases, one macabre and the other simply bizarre.
Scenes of fiery Viking funerals have been woven into any number of literary and cinematic tales, but sources on the topic are limited. In this episode, we hear from what’s probably the definitive source, a firsthand account written in the 10th-century by an Arab traveler and diplomat, Ahmad ibn Fadlan, who was visiting what would be modern Ukraine, an area then populated by Germanic tribes originating in Sweden. Fadlan’s unflinching description of the bloody and brutal rites, it should be noted, may not be an easy listen for younger or more sensitive members of our audience.
The folklore of Russian vampires describes a creature slightly different than what we’re accustomed. In tonight’s show we share a number of traditional tales from the 1873 volume Russian Folk-Tales by W. R. S. Ralston, a leading light of the Imperial Geographical Society of Russia and author of The Songs of the Russian People.
Explore some curious British Customs with us, including those of Midsummer, swan-upping, egg-hopping, St. Bartholomew’s knives, and the violent tradition of St. Michaelmas “ganging.” Our source for this episode is the 1911 volume by T. F. Thistelton Dyer, British Popular Customs Present and Past. Illustrating the Social and Domestic Manners of the People. Arranged according to the Calendar of the Year.
A malignant vapor, weird plagues and punishments, a Polish dwarf, and a perilous journey into the lightless depths of a pyramid — all included in this pleasantly macabre collection of short tales from a favorite Victorian compendium of curiosities: The Terrific Register, or, Record of Crimes, Judgments, Providences, and Calamities (London, 1825)
For centuries, strange births, often sounding like mythological monsters, were regarded as portents of ill omen. We hear a number of these fantastical accounts, including a description of the birth of the”Monster of Ravenna” believed to foreshadow not only the defeat of Louis XII’s forces during the 1512 Battle of Ravenna but also taken later as a sign of God’s wrath and religious turmoil roiling up in the Reformation.
The accounts related are compiled in the 1820 volume, edited by R.S. Kirby, and entitled Kirby’s wonderful and eccentric museum; or, Magazine of remarkable characters. Including all the curiosities of nature and art, from the remotest period to the present time, drawn from every authentic source.
A self-crucifixion that occurred in 1806 on the island of San Servolo in the Venetian lagoon is the topic of our story this time around. The perpetrator and object of this crucifixion was Mattio Lovat, anglicized in our text as “Matthew Lovat.” The selected narrative comes from an 1826 collection edited by Henry Wilson called Wonderful Characters: Comprising Memoirs and Anecdotes of the Most Remarkable Persons of Every Age and Nation: Collected from the Most Authentic Sources.
An illustration of the event from Wonderful Characters…
Enjoy with us a collection of short curious tales culled from a favorite Victorian volume — the Stone Eater of London, a mariner’s report of fire from the sky, the rise and fall of a French giant, 18th century blasphemies involving a donkey, and more. Plus, more sardonic verse from Harry Graham in “Karswell’s Corner”
The fire that destroyed P.T. Barnum’s American Museum on July 13, 1865 was a luxuriantly surreal and tragic event, one described beautifully in a contemporary New York Times piece, which we share in this episode verbatim. Doomed whales in enormous tanks, fleeing snakes, sideshow celebrities, and melting wax mannequins are all part of this fantastic tale.
The episode also includes details on Bone and Sickle’s new format for 2023 (more and shorter shows) a morbid bit of poetry from Mrs. Karswell as well as a snippet of a 1920s recording of German soprano Frieda Hempel recreating a performance by Jenny Lind, “The Swedish Nightingale,” promoted by Barnum on immensely successful international tours.
Contemporary accounts imagined Barnum’s menagerie rampaging through the flames
From St. Nicholas Day through Christmas, the Devil figured prominently in medieval plays, embodying a subversive seasonal element also celebrated in the Feast of Fools.
We enter the topic of medieval Christmas plays sideways through German composer Carl Orff’s 1935 composition “O Fortuna,” a piece much beloved in Hollywood soundtracks. The lyric Orff set to music happens to belongs to one of 24 11th-century poems preserved in a Benedictine monastery in the Bavarian town of Beuren, providing the collection with its name, Carmina Burana, a Latinized version of “Songs from Beuren.”
After a brief look at some of the rude and blasphemous poems, for which the collection is notorious, we switch to its poem on the Nativity, a much less scandalous composition which formed the basis of one of Europe’s first Christmas plays. We focus on the prominent role given Satan and his demons in that text as well as the comic portrayal of the Antichrist in Ludus de Antichrist, “Play of Antichrist,” preserved in a collection from a nearby monastery in Tegnersee.
From there we switch over to medieval portrayals of another sort of Antichrist, namely King Herod, whose role in the Christmas story is to order the execution of all infant males in his kingdom, hoping thereby to exterminate a potential rival, the “King of the Jews,” rumored to have been born in his kingdom. We discuss some fantastically grisly portrayals of this event from the medieval stage.
We next have a look at some of the stagecraft employed in portraying the Devil and his minions, discussing the fabrication of “Hellmouths,” a set element, which swallowed sinners and vomited up devils on the medieval stage. Alongside this, we examine costumes and pyrotechnics used to enhance the theatricality of demons and their realm.
From there, we turn to another subversive, sometimes violent, undercurrent in holiday celebrations, namely that of the Boy Bishop. Beginning around the 10th century, the title was given to a youth elected to lead mass either on the Feast Day of St. Nicholas or on December 28, the Feast of the Holy Innocents. On the surface, the tradition may sound innocently charming enough, but as we learn from quite a few contemporaneous accounts of mayhem and violence involved in the festivities, this inversion of the hierarchies could quickly lead into Lord of the Flies territory.
16th-century depiction of the Boy Bishop tradition from Bamburg, Germany
Related to the Boy Bishop tradition, is our next topic, the Feast of Fools. While many listeners will be familiar will be with the carnivalesque street parades, and election of a mock King, Bishop, or Pope of Fools, these chaotic elements were not limited to the secular world. Indeed, the festumfatuorum began within the church itself, consisting of a number of days in which lower clergy assumed roles usually belonging to those above them in the hiearchy (priests for bishops, etc.).
The “Feast” actually constituted of a number of different days during the Christmas season during which such inversions took place, a period sometimes extending all the way to January 14, on which the “Feast of the Ass” took place, a celebration honoring the animal which bore the Blessed Virgin to Bethlehem, and one involving the congregation in a litany of “hee-hawing.” Mrs. Karswell reads for us a number of historical accounts detailing the mayhem involved in these celebrations.
We close with a nod to the most the most famous literary reference to the Feast of Fools, one which novelist Victor Hugo imagined in his 1831 novel The Hunchback of Notre Dame, and in which the titular character is crowned “King of Fools,” (or “pope” in the original French.)
