So Saul disguised himself, putting
on other clothes, and at night he and two men went to the woman. “Consult a
spirit for me,” he said, “and bring up for me the one I name.”
—1 Samuel 28: 8
—1 Samuel 28: 8
This
quote from an Old Testament passage describes an act of necromancy involving
King Saul and the Witch of Endor. Saul
had earlier outlawed all mediums and spiritists from his beleaguered kingdom,
but facing a difficult battle with the Philistines, he decides to ask a local sorceress
to raise the spirit of the prophet Samuel to obtain military advice. The troubled king’s request is inconsistent
with his official line, but also recognizably human. He wants to hedge his bet. The advice from the reconstituted prophet is not
particularly helpful or encouraging. One
can imagine his more practical companions saying something like “Trust not
these charlatans, my lord! Is it not be
wiser to surveil the enemy with our own eyes?”
Necromancy
is an ancient practice, and likely has always provoked tension between belief
and skepticism, or more broadly between supernaturalism and materialism—that
is, between religious thinking and science. It involves conjuring the spirits of the dead
in order to influence current events, chiefly by acquiring the secret knowledge
only such spirits can impart. As such,
necromancy is a frequent motif in horror entertainment, a source of general
spookiness and dire, ironic effects. Of
course, such mumbo-jumbo is anathema to atheists and materialists, who have
challenged the assumptions underlying necromancy as early as the time of the ancient
Greeks.
Necromancy
assumes that the mind can exist separately from the body, that certain
practices can synchronize the consciousness of the living with that of the
dead, creating a bridge between the two, and that the nonmaterial can interact
with the material—can move things, rap on tables and doors or make sounds
which communicate information. Like King
Saul, the living may have an urgent interest in communicating with the dead, but
the reverse is not always so. The
interests of the living and the dead frequently diverge, with disastrous
results, at least on one side of the veil.
(As we
approach an election year, we should note that in several large American
cities both the living and the dead apparently vote—“early and often”—and typically
along party lines. So it is possible for
the political and economic views of both camps to converge on occasion, though
the departed are often underrepresented in opinion polls.)
Anthony
Aveni’s Behind the Crystal Ball (2002)
is a fascinating survey of the historical relationship between science and the
occult, from antiquity to the present.
He devotes several chapters to the rise of spiritism in the middle to
late nineteenth century, when celebrity mediums and séances came into vogue,
attracting numerous adherents as well as several scientific efforts to debunk
the craze. Which efforts were only
partially effective, given the continued prevalence of revived occult practice
today’s society. There is interesting
material about the Fox sisters, who were able to channel telegraphic messages
from the local departed of Hydesville, New York, and Daniel Dunglas Home, (“DDH”),
a Scottish necromancer also adept at levitation. Aveni describes their exploits in some
detail, and then shows how contemporary scientists and debunkers tried to
disprove their outlandish claims.
Aveni
offers Sir William Crookes as an example of how an individual could ascribe to
both supernatural and scientific viewpoints at the same time, achieving an unstable amalgam of
heart and mind as a result of personal tragedy.
(Crookes’ younger brother died a couple years before he took up his
researches into occult phenomena.) Crookes
was a brilliant Victorian scientist known for his invention of the “Crooke’s
Tube”, a device that could produce a vacuum for the study of phosphorescent
gases, lightning, and related phenomena.
His invention laid the groundwork for the later discovery of X-rays.
This is
the same Crookes referenced in H.P. Lovecraft’s story The Shunned House (1928), in which the scientist’s invention is
used unsuccessfully against a malevolent, vampiric entity in the basement of an
abandoned house.
We
had devised two weapons to fight it; a large and specially fitted Crookes tube
operated by powerful storage batteries and provided with peculiar screens and
reflectors, in case it proved intangible and opposable only by vigorously
destructive ether radiations, and a pair of military flame-throwers of the sort
used in the World War, in case it proved partly material and susceptible of
mechanical destruction…
Lovecraft’s
story is an example of a transitional point between supernatural horror and the
emergence of a more science-based speculative fiction—in a sense it is
proto-science fiction. Like Crookes,
Lovecraft was an enthusiastic materialist and revered science, yet his fiction
betrays his reliance on supernaturalist assumptions. (Is it possible to create genuine horror in
the absence of supernatural beliefs?)
Remarkably, Crookes completed some of his most important work in
thermodynamics while preoccupied with his investigations of spiritism and
psychic phenomena. Perhaps his
scientific advances were guided in some way by communications with the spirit world! But his career and reputation suffered greatly
because of his support—and probably hope—for further research in the paranormal field, driven in part by his personal experience of the premature death of his
brother.
It
seems as though Sir William Crookes could have been the model for Julian Blair,
the doomed electro-physicist in William Sloane’s The Edge of Running Water (1939).
This novel and Sloane’s earlier To
Walk the Night are published in a collection re-issued this year called The Rim of Morning. (See also An
Archetypal Terror.) There are a
number of similarities between the two stories; in a way, the second, longer
work is essentially a further elaboration of themes introduced in the first. Both are novels of quiet horror and dis-ease,
leisurely in pace but concluding with powerful and haunting images. Each involves a narrator whose unfortunate
friend is hopelessly obsessed with a mysterious and powerful woman. In The
Edge of Running Water, the narrator is appropriately a psychologist, insightful
about everyone else’s motivations, though not his own.
In The Edge of Running Water there are four powerful women. There is Mrs. Walters, the treacherous and
ambitious medium who is assisting the scientist with his necromantic work. Visiting them for the summer is Ann Conner,
the younger sister of the scientist’s late wife Helen, with whom the narrator
has fallen in love. The narrator’s
feelings are mixed; he had originally loved the sister who is now departed, but
she had fallen for Julian and married him instead. There is also the unfortunate, long suffering
housekeeper Mrs. Marcy, a remnant of the grand family that had once occupied
the residence, now fallen on hard times.
Though
she never puts in a formal appearance, the spirit of Helen hangs over the
dismal atmosphere of the house, and is the impetus for Julian’s feverish,
obsessive experiments upstairs. Typical
of Sloane, the science fiction elements of the story are really incidental to
the focus on the relationships among the characters. Here is Sloane describing Ann’s ability to
drive, circa the late 1930s:
We
went on, not exactly racing but making incredible speed for the condition of the
road. Anne handled the car with a
magnificent blend of daring and judgment; I thought we weren’t going to make
the bridge at the turn by the creek, but we got across it by a hair…Even with
the chances Anne took, I did not feel nervous about her driving. There was competence in the way her hands were
resting on the wheel, in the way she sat behind it, alert but not tense.
The narrator
makes similar appreciative comments about his nemesis, the scheming and
ruthless Mrs. Walters. He acknowledges
that in a way, she is a professional competitor, and uses some of the same expertise
about human behavior that he does--but for evil and personal gain. These
are remarkable appraisals to find in the genre fiction of this time, and have a
very contemporary feel. Thinking of the Witch of Endor and her modern fictional avatar,
Mrs. Walters, one wonders if occultism attracts a disproportionate number of
competent, self-directed women to its ranks, and if historically it was one of the
earliest equal opportunity employers.
Julian
Blair is the reclusive mad scientist, though he is more obsessed than maniacal. (The character was played by Boris Karloff in
a film adaptation of the novel called The
Devil Commands in 1941.) Both
he and the narrator are the principle male voices, and seem to represent rational
minds overwhelmed by supernatural and emotional forces that cannot be easily
analyzed, explained or controlled. It is
no accident that the lonely house is set on a point of land in the midst of a
bay and tidal river—“the edge of running water”, an archetypal image of
emotional inundation. Blair cannot come
to terms with the loss of his beloved Helen, and so applies his scientific
prowess to finding a technology that will allow him to communicate with
her. Like Sir William Crookes, he makes
spectacular progress and inadvertently makes an awesome scientific discovery—but
not the one his heart was directing him to find.
********************
Necromancy
has been the topic of several earlier posts.
Further discussion of this interesting subject can be found at:
“…doe
not call up Any that you can not put downe…”... (H.P. Lovecraft’s The Case of Charles Dexter Ward)
Raising the
Dead (Clark Ashton Smith’s The Empire
of the Necromancers)
Towards
A Modern Necromancy (developments in cryogenics)
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