Curiously, students were reading classical texts imbued with the power of witches and witchcraft, which is incompatible to the Bible’s warnings. The Bible mentions forbidden practices such as divination, consulting with mediums or familiar spirits, interpreting omens, casting spells, and necromancy, though without much detail. The problem with witchcraft is in trying to manipulate spiritual forces instead of asking God for help. And the punishment for contacting demonic spirits is not being able to inherit the kingdom of God.
In case you’re not a classical scholar, Prescott provides synopses of major works—like Homer’s Odyssey, Virgil’s Aeneid, Ovid’s Metamorphoses, and Lucan’s Erichtho—to explain the archetypes of Greco-Roman witches. As they transform from the strong, attractive but vindictive Greek witch to the bitter, haggard Roman one, Prescott mentions how dramatic social and political changes affected witches (and women’s) roles in society and in literature.
The author also makes the point that witch hunts in Britain and the 13 Colonies were not based on the King James Bible (1611). Being able to read and have access to the Bible was mostly limited to the upper classes and to clerics. King James himself was extraordinarily concerned about witchcraft—believing witches caused the tumultuous seas that delayed his bride Anne of Denmark’s arrival in England—so much so that he wrote Daemonologie (1597).
At the Salem witch trials in 1692, judges and some of the jury attended Harvard. They studied Greco-Roman literature featuring attractive, alluring Greek witches with deadly streaks of hostility, and Roman hag witches who torture, maim, and sabotage men. Classical witchcraft, mixed with regional folktales and backed by the Bible, was real in the dark woods and villages of Massachusetts Bay. A cursing beggar woman, a healthy cow that suddenly drops dead, sleep paralysis while dreaming of your neighbor, or shapeshifters in the shadows—what else could it be except witchcraft?
Prescott covers the witch’s metamorphosis from classical antiquity to the modern day, using literary characters we may be more familiar with, like Snow White’s wicked stepmother, Dr. Frankenstein, and Shakespeare’s weird sisters in Macbeth. Since the 1960s, she notes, Wicca and other trends have changed the classical witch dynamic.
Or maybe it’s the women taking back their power.
