The Salem Witch Trials

Author(s):  
Abram C. Van Engen

The Salem witch trials have gripped American imaginations ever since they occurred in 1692. At the end of the 17th century, after years of mostly resisting witch hunts and witch trial prosecutions, Puritans in New England suddenly found themselves facing a conspiracy of witches in a war against Satan and his minions. What caused this conflict to erupt? Or rather, what caused Puritans to think of themselves as engaged, at that moment, in such a cosmic battle? These are some of the mysteries that the Salem witch trials have left behind, taken up and explored not just by each new history of the event but also by the literary imaginations of many American writers. The primary explanations of Salem set the crisis within the context of larger developments in Puritan society. Though such developments could be traced to the beginning of Puritan settlement in New England, most commentators focus on shifts occurring near the end of the century. This was a period of intense economic change, with new markets emerging and new ways of making money. It was also a time when British imperial interests were on the rise, tightening and expanding an empire that had, at times, been somewhat loosely held together. In the midst of those expansions, British colonists and settlers faced numerous wars on their frontiers, especially in northern New England against French Catholics and their Wabanaki allies. Finally, New England underwent, resented, and sometimes resisted intense shifts in government policy as a result of the changing monarchy in London. Under James II, Massachusetts Bay lost its original charter, which had upheld the Puritan way for over fifty years. A new government imposed royal rule and religious tolerance. With the overthrow of James II in the Glorious Revolution, the Massachusetts Bay government carried on with no official charter or authority from 1689 until 1691. When a new charter arrived during the midst of the Salem witch hunt, it did not restore all the privileges, positions, or policies of the original “New England Way,” and many lamented what they had lost. In other words, in 1692, New England faced economic, political, and religious uncertainty while suffering from several devastating battles on its northern frontier. All of these factors have been used to explain Salem. When Governor William Phips finally halted the trials, nineteen had been executed, five had died in prison, and one man had been pressed to death for refusing to speak. Protests began almost immediately with the first examinations of the accused, and by the time the trials ended, almost all agreed that something had gone terribly wrong. Even so, the population could not necessarily agree on an explanation for what had occurred. Publishing any talk of the trials was prohibited, but that ban was quickly broken. Since 1695, interpretations have rolled from the presses, and American literature—in poems, plays, and novels—has attempted to make its own sense and use of what one scholar calls the mysterious and terrifying “specter of Salem.”

Author(s):  
Tony Tanner

When Huckleberry Finn was published in 1882 at least one New England library promptly banned it. This rather pathetic gesture is an apt indication of the larger crisis of culture of the decade, the significance of which extends in many directions - social, philosophical, and theological. In art, it took the form of a stylistic rebellion, a rebellion that ultimately rendered obsolete the cherished styles of Longfellow, Emerson and Holmes, and set a tone which has remained a constant in American literature to this day. This rebellion was brought to a head by one man; and his book, Huckleberry Finn, is pivotal in the history of American literature.


Author(s):  
David C. Paul

This chapter focuses on Henry Cowell's advocacy of Charles E. Ives and his music between the years 1927 and 1947. Cowell's ideas about Ives can be grouped into two periods: those produced prior to the sentence he served at San Quentin State Prison for a 1936 conviction on a morals charge, and those produced after his release in 1940. This chapter first considers Cowell's portrait of Ives as a New England musical ethnographer before discussing the views of anthropologists, folklorists, and musical modernists about folk music. It then examines how Cowell became interested in folk music, along with his influence on Ives. It also looks at the notion of a usable past, advanced by Van Wyck Brooks in his essay “On Creating a Usable Past,” in which he called for a rewriting of the history of American literature. The chapter concludes with an assessment of Ives's “Concord” Sonata and Ives's commitment to freedom (in the sense of refusing to impose a fixed final form on his works).


Prospects ◽  
1978 ◽  
Vol 3 ◽  
pp. 483-498
Author(s):  
Peter Shaw

In the course of his career Nathaniel Hawthorne twice wrote the history of seventeenth- and eighteenth-century New England. He told the story for children in Grandfather's Chair (1841) and for adults in five related tales published between 1831 and 1838. These tales do not appear in chronological order among Hawthorne's collections, nor were they so written. But they are assigned prominent positions in the two volumes of Twice-Told Tales and in The Snow-Image and Other Tales. They contain a ritual history of protorevolutionary events in New England extending from the beginning of the settlement in Massachusetts Bay to the eve of the American Revolution. The key stories in this series and the events they deal with are “The May-Pole of Merry Mount,” concerning Governor Endicott's destruction of Thomas Morton's maypole in 1629; “Endicott and the Red Cross,” on Endicott's desecration of the British flag in protest at the appointment of a royal governor in 1634; “The Gray Champion,” on the people's defiance of tyrannous Governor Andros on the eve of his expulsion in 1689; “My Kinsman, Major Molineux,” introduced as an incident relating to mistreatment and expulsions of governors between 1689 and 1730; and “Howe's Masquerade,” on the expulsion of military governor General Howe, predicted at a masquerade ball given by him during the siege of Boston in 1775.


Author(s):  
D.O. Gordienko ◽  

The article presents the results of a study devoted to the history of the British armed forces in the “long” 17th century. The militia was the backbone of England's national military system. The author examines the aspects of the development of the institutions of the modern state during the reign of the Stuart dynasty, traces the process of the development of the militia and the formation of the regular army. He reveals the role of the militia in the political events of the Century of Revolutions: the reign of Charles I, the Wars of the Three Kingdoms, the Restoration age, the Glorious Revolution, and also gives a retrospective review of the eventsof the 18th century.


Author(s):  
John Evelev

This chapter focuses on the New England village novel, a prestigious subgenre that figured in many of the midcentury’s critical assessments of what constituted “American literature” but that is now largely forgotten. Once important novels like Sylvester Judd’s Margaret (1845), Henry Wadsworth Longfellow’s Kavanagh (1849), Oliver Wendell Holmes’s Elsie Venner (1861), and Henry Ward Beecher’s Norwood (1869) tell us about middle-class social values and their investment in reform in their depictions of New England village life during this period of time. This chapter explores some of the contradictions inherent in locating idealized theological and social change within the residual space of the New England village. As a consequence of these contradictions, the utopia of the New England village novel becomes literally “no place,” frozen between nostalgia for a unified national community that never existed and hope that through reform the village could fulfill utopian possibilities for the nation. This genre also maps out the transformation of attitudes toward social reform from the picturesque utopianism of Judd’s Margaret to a much narrower vision of the transformative possibilities of the picturesque in Beecher’s post-Civil War novel, Norwood, a quarter of a century later. This transformation reveals the importance of the picturesque to an alternative history of the mid-nineteenth-century American novel and explores the rise and decline of middle-class use of the picturesque as an authoritative discourse to reshape spaces and enact social change in American life.


Sign in / Sign up

Export Citation Format

Share Document