Folk-lore of Shakespeare. Dyer Thomas Firminger Thiselton

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a fire sometimes seen flying in the night like a dragon. Common people think it a spirit that keepeth some treasure hid, but philosophers affirme it to be a great unequal exhalation inflamed betweene two clouds, the one hot, the other cold, which is the reason that it also smoketh, the middle part whereof, according to the proportion of the hot cloud being greater than the rest, maketh it seem like a bellie, and both ends like unto a head and taill.”133 White, however, in his “Peripateticall Institutions” (p. 156), calls the fiery-dragon or fire-drake, “a weaker kind of lightning. Its livid colors, and its falling without noise and slowly, demonstrate a great mixture of watery exhalation in it… ’Tis sufficient for its shape, that it has some resemblance of a dragon, not the expresse figure.”

      Among other allusions to the will-o’-the-wisp by Shakespeare, Mr. Hunter134 notices one in “King Lear” (iii. 4), where Gloster’s torch being seen in the distance, the fool says, “Look, here comes a walking fire.” Whereupon Edgar replies, “This is the foul fiend, Flibbertigibbet; he begins at curfew, and walks till the first cock.” “From which,” observes Mr. Hunter, “Flibbertigibbet seems to be a name for the will-o’-the-wisp. Hence the propriety of ‘He begins at curfew, and walks till the crowing of the cock,’ that is, is seen in all the dark of the night.” It appears that when Shakespeare wrote, “a walking fire” was a common name for the ignis fatuus, as we learn from the story of “How Robin Goodfellow lead a company of fellows out of their way:” “A company of young men, having been making merry with their sweethearts, were, at their coming home, to come over a heath; Robin Goodfellow, knowing of it, met them, and to make some pastime hee led them up and downe the heathe a whole night, so that they could not get out of it, for hee went before them in the shape of a walking fire, which they all saw and followed till the day did appeare; then Robin left them, and at his departure spake these words:

      “‘Get you home, you merry lads,

      Tell your mammies and your dads,

      And all those that newes desire

      How you saw a walking fire,

      Wenches, that doe smile and lispe,

      Use to call me willy-wispe.’”

      Another allusion to this subject occurs in “The Tempest” (iv. 1), where Stephano, after Ariel has led him and his drunken companions through “tooth’d briers, sharp furzes, pricking goss and thorns,” and at last “left them i’ the filthy mantled pool,” reproaches Caliban in these words: “Monster, your fairy, which you say is a harmless fairy, has done little better than played the Jack with us” – that is, to quote Dr. Johnson’s explanation of this passage, “he has played Jack-with-a-lanthorn, has led us about like an ignis fatuus, by which travellers are decoyed into the mire.”135 Once more, when Puck, in “A Midsummer-Night’s Dream” (iii. 1), speaks of the various forms he assumes in order to “mislead night wanderers, laughing at their harm,” he says:

      “Sometime a horse I’ll be, sometime a hound,

      A hog, a headless bear, sometime a fire.”

      Shakespeare, no doubt, here alludes to the will-o’-the wisp, an opinion shared by Mr. Joseph Ritson,136 who says: “This Puck, or Robin Goodfellow, seems likewise to be the illusory candle-holder, so fatal to travellers, and who is more usually called ‘Jack-a-lantern,’137 or ‘Will-with-a-wisp,’ and ‘Kit-with-the-candlestick.’” Milton, in “Paradise Lost” (book ix.), alludes to this deceptive gleam in the following lines:

      “A wandering fire

      Compact of unctuous vapour, which the night

      Condenses, and the cold environs round,

      Kindled through agitation to a flame,

      Which oft, they say, some evil spirit attends,

      Hovering and blazing with delusive light,

      Misleads th’ amaz’d night-wanderer from his way

      To bogs and mires, and oft through pond and pool.”138

      This appearance has given rise to a most extensive folk-lore, and is embodied in many of the fairy legends and superstitions of this and other countries. Thus, in Germany, Jack-o’-lanterns are said to be the souls of unbaptized children, that have no rest in the grave, and must hover between heaven and earth. In many places they are called land-measurers, and are seen like figures of fire, running to and fro with a red-hot measuring rod. These are said to be persons who have falsely sworn away land, or fraudulently measured it, or removed landmarks.139 In the neighborhood of Magdeburg, they are known as “Lüchtemannekens;” and to cause them to appear, it is sufficient to call out “Ninove, Ninove.” In the South Altmark they are termed “Dickepôten;” and if a person only prays as soon as he sees one, he draws it to him; if he curses, it retires. In some parts, too, a popular name is “Huckepôten,” and “Tuckbolde.” The Jack-o’-lanterns of Denmark140 are the spirits of unrighteous men, who, by a false glimmer, seek to mislead the traveller, and to decoy him into bogs and moors. The best safeguard against them, when they appear, is to turn one’s cap inside out. A similar notion occurs in Devonshire with regard to the Pixies, who delight in leading astray such persons as they find abroad after nightfall; the only remedy to escape them being to turn some part of the dress. In Normandy these fires are called “Feux Follets,” and they are believed to be cruel spirits, whom it is dangerous to encounter. Among the superstitions which prevail in connection with them, two, says Mr. Thoms,141 are deserving of notice: “One is, that the ignis fatuus is the spirit of some unhappy woman, who is destined to run en furolle, to expiate her intrigues with a minister of the church, and it is designated from that circumstance La Fourlore, or La Fourolle.” Another opinion is, that Le Feu Follet is the soul of a priest, who has been condemned thus to expiate his broken vows of perpetual chastity; and it is very probable that it is to some similar belief existing in this country, at the time when he wrote, that Milton alludes in “L’Allegro,” when he says:

      “She was pinched and pulled, she said,

      And he by Friar’s Lanthorn led.”

      In Brittany the “Porte-brandon” appears in the form of a child bearing a torch, which he turns like a burning wheel; and with this, we are told, he sets fire to the villages, which are suddenly, sometimes in the middle of the night, wrapped in flames.

      The appearance of meteors Shakespeare ranks among omens, as in “1 Henry IV.” (ii. 4), where Bardolph says: “My lord, do you see these meteors? do you behold these exhalations? What think you they portend?” And in “King John” (iii. 4), Pandulph speaks of meteors as “prodigies and signs.” The Welsh captain, in “Richard II.” (ii. 4), says:

      “’Tis thought the king is dead; we will not stay.

      The bay-trees in our country are all wither’d,

      And meteors fright the fixed stars of heaven.”

      Comet. From the earliest times comets have been superstitiously regarded, and ranked among omens. Thus Thucydides tells us that the Peloponnesian war was heralded by an abundance of earthquakes and comets; and Vergil, in speaking of the death of Cæsar, declares that at no other time did comets and other supernatural prodigies appear in greater numbers. It is probably to this latter event that Shakespeare alludes in “Julius Cæsar” (ii. 2), where he represents Calpurnia as saying:

      “When beggars die, there are no comets seen;

      The heavens themselves blaze forth the death of princes.”

      Again, in “1 Henry VI.” (i. 1), the play

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