Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Introduction: The Ways – Transformation, Binding and Presence
- 1 Axes: Ecstatic Heights and Nightmare Depths
- 2 Magic: Transformation and Self-determination
- 3 Music: Going Down to the Crossroads
- 4 Gods: Appointments with the Divine
- 5 Terminus: The Night, the Crossroads and the Stake
- 6 Literature: Liminal Ground in Early Modern Drama
- 7 Hallowed Roads: Routes to the Crossroads
- 8 Wanderers: The Predicament of a Stranger
- 9 Monsters: ‘Spirits of another sort’
- 10 Protection: The X in the Landscape
- Conclusion: The Parting – Intersections
- Notes
- Index
6 - Literature: Liminal Ground in Early Modern Drama
Published online by Cambridge University Press: 23 November 2024
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Introduction: The Ways – Transformation, Binding and Presence
- 1 Axes: Ecstatic Heights and Nightmare Depths
- 2 Magic: Transformation and Self-determination
- 3 Music: Going Down to the Crossroads
- 4 Gods: Appointments with the Divine
- 5 Terminus: The Night, the Crossroads and the Stake
- 6 Literature: Liminal Ground in Early Modern Drama
- 7 Hallowed Roads: Routes to the Crossroads
- 8 Wanderers: The Predicament of a Stranger
- 9 Monsters: ‘Spirits of another sort’
- 10 Protection: The X in the Landscape
- Conclusion: The Parting – Intersections
- Notes
- Index
Summary
Where black roads cross in the white of the moon,
Dig her grave, to the stout old tune …
Hammer the pointed white-ash stick
Into her heart – Now there's the trick.
Earl Daniels, ‘Crossroads Burial’ (1937)
No rest she had in the old town church,
No grave by the lake so sweet,
They buried her in unholy ground,
Where the four cross-roads do meet.
Dora Mary Shorter, ‘The Fetch’ (1899)
With downward face, now mark him well.
As if to view his native hell!
Nail’d fast with knotty stakes: –
Where cross the roads they dug his grave;
There howls his ghost! – unlucky knave.
Taliesin Williams, ‘Doom of Colyn Dolphyn’ (1837)
A dozen men sat on his corpse
To find out why he died
And they buried Ben in four cross-roads
With a stake in his inside.
Thomas Hood, ‘Faithless Nelly Gray’ (1828)
’Tis here three cross-roads meet –
Observe that stake! ‘Twas in the midway plac’d …
To draw the glance abhorrent, and the scoff
From vulgar passengers. It marks the grave
Of one self-slaughter’d! Miserable wretch!
William Dimond, ‘Fragment in Blank Verse’ (1800)
As these epigraphs suggest, the pejorative burial and staking of people at crossroads has registered in Western popular poetry and ballads for centuries. In prose literature too, the popular imagination ranged over such matters and preserves the familiar refrain. The character of the Earl in the 1798 thriller The Sicilian, at the reading of a suicide note, swears that ‘such an infernal monster’ should not be allowed to be buried ‘as if he had died a natural death’; the Captain, meanwhile had ‘shuddered several times while reading the horrid scrawl’, and opines that ‘such a confession entitles him to be laid between four crossroads, with a stake driven through his body’. It was said of one character in James Samuel Stone's 1887 The Heart of Merrie England, that ‘had he lived to see the day when gallows should not be erected by the highway, nor suicides buried in the cross-roads, nor ghosts haunt the uncanny corners, he would have given up his spirit in despair’.
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- Information
- A History of Crossroads in Early Modern Culture , pp. 129 - 153Publisher: Edinburgh University PressPrint publication year: 2022