35 Matching Annotations
  1. Apr 2021
    1. Thus, to count as witchcraft an utterance must eo ipso count as a performative: like the “I do” of the wedding ceremony, the magical spell of witchcraft is not a “constative” factual statement that might be true or false, but rather a “performative” verbal action that accomplishes some change in the world’s state of affairs.

      performative rather than constative

    2. not only the conflict between magic and religion that Thomas diagnoses at the heart of the history of European witchcraft, but also the binary tension between magical ritual and realistic measurement

      more about functions of witchcraft

    3. The tragic witch abandons “human” language and resorts to a radically antisocial utterance, the supernatural performative; this speech act, rather than other characters, divinities, random chance, or fate, defines her character and determines her catastrophic end.

      How witchcraft presents itself in works of art (inc. writing)

    1. But she escaped death, in a dark mist, raised by her incantations.

      She chose to leave the place, and left the stories told about the events in this way.

    2. Medea, seeking his destruction, prepared a mixture of poisonous aconite, she had brought with her from the coast of Scythia. This poison is said to have dripped from the teeth of Cerberus, the Echidnean dog.

      Medea is using her power to control her situation again, planning a way to keep power, but later on in this her attempt is subverted by the man who has more power?

    3. After Jason’s new bride Glauce had been consumed by the fires of vengeful Colchian witchcraft and both the Isthmus’s gulfs had witnessed flame consuming the king’s palace, Medea impiously bathed her sword in the blood of their sons. Then, after performing this evil act, she fled from Jason’s wrath.

      In this version of Medea, her murders of her own sons is glossed over very quickly, ignoring her feelings about the whole process. She is presented as a witch that only thinks about herself.

    4. the barbarian witch

      The way that she is called a barbarian witch, which refers to someone who isn't Roman technically, but additionally means that she is uncivilised, emphasises the viewpoint on witches already present: they don't belong within a society and belong in the outskirts of civilisation.

    5. Meanwhile a potent mixture is heating in a bronze cauldron set on the flames, bubbling, and seething, white with turbulent froth. She boils there, roots dug from a Thessalian valley, seeds, flowerheads, and dark juices. She throws in precious stones searched for in the distant east, and sands that the ebbing tide of ocean washes. She adds hoar-frost collected by night under the moon, the wings and flesh of a vile screech-owl, and the slavering foam of a sacrificed were-wolf, that can change its savage features to those of a man. She does not forget the scaly skin of a thin Cinyphian water-snake, the liver of a long-lived stag, the eggs and the head of a crow that has lived for nine human life-times.

      Each of these ingredients adds a distinct metaphysical component to the spell; look up the correspondences?

    6. dipping many-branched torches into the black ditches filled with blood, she lit them, once they were darkened, at the twin altars. Three times with fire, three times with water, three times with sulphur, she purified the old man.

      Fire is considered a way to quickly bring magic into effect; it also provides strength and and health. Water is an anagonist for the fire, providing soothing and healing as well. Fire is considered a masculine element, while water is feminine. Combining both helps strengthen the spell, and additionally, doing it in pairs of 3 brings the providence from Hecate and the others into the spell. The emphasis of doing spells in patterns of 3 has a lot of meaning; it emphasises the spell and helps strengthen it.

    7. she set up two altars

      Altars normally consist of a cloth covering a surface and a candle dedicated to a certain god or goddess, and bowls or other containers that hold the magical ingredients being used for a certain enchantment.

    8. Peneus, and Spercheus’s waters gave something

      The type of water and where water comes from is also considered as giving magical properties when used within spellwork and rituals.

    9. She looked down on Thessalian Tempe far below, and sent the dragons to certain places that she knew. She considered those herbs that grow on Mount Ossa, those of Mount Pelion, Othrys and Pindus, and higher Olympus, and of those that pleased her, plucked some by the roots, and cut others, with a curved pruning-knife of bronze.

      In witchcraft, herbs are used constantly for their magical and physical properties, and the powers they have within physically and spiritually.

    10. Now I need the juice by which old age may be renewed,     that can regain the prime of years, return the flower of youth,     and You will grant it.

      This, nearly at the end of her incantation, is her full request to the gods she works with to bring forth her request into reality.

    11. ou also, Luna, I draw down, eclipsed, from heaven’s stain,     though bronzes of Temese clash, to take away your pains;     and at my chant, the chariot of the Sun-god, my grandsire,     grows pale: Aurora, at my poisons, dims her morning fire.

      Here she is reaching out, with intentions of anchoring them into her work, with intentionality. Witchcraft is a practice that focuses on your intentions that you put out into the world, and as a sorceress she is good at this process. In this way, it can be seen that witchcraft gives women a sense of agency during this time because of being able to show the world their intentions through this art.

    12. Triple Hecate, you who know all our undertakings,     and come, to aid the witches’ art, and all our incantations:

      I'd like to leave a note of this here because it is essential to knowing context to this incantation Medea is chanting.

    13. Medea left the palace, dressed in unclasped robes. Her feet were bare, her unbound hair streamed down, over her shoulders, and she wandered, companionless, through midnight’s still silence. Men, beasts, and birds were freed in deep sleep. There were no murmurs in the hedgerows: the still leaves were silent, in silent, dew-filled, air. Only the flickering stars moved. Stretching her arms to them she three times turned herself about, three times sprinkled her head, with water from the running stream, three times let out a wailing cry

      She sneaks out of the palace, unnoticed, with this likely being preplanned, using forethought. Another note with the end of this paragraph describes her doing things in patterns of three. In Wicca, a religion that goes along with many that use witchcraft, the energy put out into the world will be returned threefold. In this way, she's eliciting this pattern of three to gain favor with the Triple Goddess, Hecate, in her plans for the future.

    14. Medea was moved by the loving request, and the contrast with Aeetes, abandoned by her, came to mind. Yet, not allowing herself to be affected by such thoughts, she answered ‘Husband, what dreadful words have escaped your lips? Do you think I can transfer any part of your life to another? Hecate would not allow it: nor is yours a just request. But I will try to grant a greater gift than the one you ask for, Jason. If only the Triple Goddess will aid me, and give her assent in person to this great act of daring, I will attempt to renew your father’s length of years, without need for yours.’

      Medea has the forethought to consider what would occur, and what would be reasonable, and chooses to provide an alternative option that would satisfy Jason even more; the forethought in this shows more control on her environment than most women during this time were considered to have. In a way, her abilities in witchcraft were powerful enough to make her seem equal to a man during this time period, and likely would be feared for having so much power.

    15. But when Jason had sprinkled it with the Lethean juice of a certain herb, and three times repeated the words that bring tranquil sleep, that calm the rough seas and turbulent rivers, sleep came to those sleepless eyes, and the heroic son of Aeson gained the Golden Fleece. Proud of his prize, and taking with him a further prize, the one who had helped him gain it, the hero, and his wife Medea, returned to the harbour at Iolchos.

      This is a leading part into Medea's self reflection- she didn't react before immediately, as there was still more steps to it before she could marry Jason, which was her ultimate goal.

    16. You also, princess among the Barbarians, longed to hold the victorious man: but modesty prevented it. Still, you might have held him, but concern for your reputation stopped you from doing so. What you might fittingly do you did, rejoicing silently, giving thanks

      She limits her reaction to him succeeding so others don't notice, which is a hard thing with intense emotions; she exerts her power over her emotions in this way, limiting a reaction shows intentionality and self-reactiveness.

    17. She also, who had rendered him safe, was afraid. When she saw the solitary youth attacked by so many enemies, she grew pale, and sat there, suddenly cold and bloodless. And in case the herbs she had given him had not been potent enough, she chanted a spell to support them, and called on her secret arts.

      This segment of the story shows her using both self-reactiveness and self-reflection to garner the results she wanted; doing more in order to attune the results perfectly to what she desired.

    18. Immediately, as he was now trusted, he accepted the magic herbs from her, and learnt their use, and returned to the palace, joyfully.

      She used her power through witchcraft and her knowledge in magical herbs to help determine the results of the situation; she used forethought in this way and proved intentionality with it as well.

    19. So that when, indeed, the stranger grasped her right hand, and began to speak, and in a submissive voice asked for her help, promising marriage, she replied in a flood of tears. ‘I see what I am doing: it is not ignorance of the truth that ensnares me, but love. Your salvation is in my gift, but being saved, remember your promise!’

      She makes the decision to help Jason out of her feelings of love, finding that to be her choice, and demands him to remember his promise of marriage.

    20. But do you call that marriage, Medea, and clothe your fault with fair names? Consider instead, how great a sin you are near to, and while you can, shun the crime!’ She spoke, and in front of her eyes, were rectitude, piety, modesty: and now, Cupid, defeated, was turning away.

      She is ruminating on her own decisions and is reflecting on whether it was worth it, losing the puppy-style love in the process, referred to here as Cupid.

    21. Shall I betray my father’s country? Shall some unknown be saved by my powers, and unhurt because of me, without me, set his sails to the wind, and be husband to another, leaving Medea to be punished?

      This is her contemplating her own decision, using the element of agency labelled with self-reflection.

    22. Why am I afraid of his death, when I have scarcely seen him? What is the cause of all this fear? Quench, if you can, unhappy girl, these flames that you feel in your virgin heart! If I could, I would be wiser! But a strange power draws me to him against my will. Love urges one thing: reason another. I see, and I desire the better: I follow the worse.

      She is controlled by her emotions rather than her own decisions. However, she has the ability to consider her options and reflect on her own decisions.

  2. Mar 2020
    1. Hortense. "

      It is interesting to think about if Hortense had been introduced here rather than in number 13 as the "French woman". Her role in the story seems abstract, and unlike how Dickens normally has worked with characters in this book. Even though she was not introduced here, she is still related, as Tulkinghorn was a major part of this number.

    2. Sir Leicester " Lady Dedlock " Mr*uppy "

      Sir Leicester is considered for this number, and along with Lady Dedlock and Guppy, is actually included. This is also seen on the other half of the working notes for this number, with specific aspects to be discussed/brought up.

    3. Mrs Rouncewells other sonor Watt or Rosa"B Ye

      Interestingly, we can see the process in which Dickens goes through the working notes here. At first he goes through the characters he wants to use on the left, and on the right he clarifies which ones he really is including and how. This is shown by how on this part it is “or Rosa”, but on the right it is “and Rosa”.

    4. %oythorn " Skimpole "

      Boythorn and Skimpole were brought up together in number 6, and are brought up in question right after each other again in this one. Even though they don't appear in this part, the connection between them is even implied without an and in the working notes of the novel.

    5. Mems:

      It's very interesting to note how with all of these notes, only the children possibly being introduced or brought up is considered, and that is a strong yes. For every other aspect, the characters in the mems werer simply questioned in his notes and not confirmed.