Customer Reviews

Witches, Druids and King Arthur

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Collections of essays by major historians can be a mixed bag. Ronald Hutton's new collection is one of the better ones. This is a collection of nine essays where Hutton tries to shed light on the murky world of magic and myth. The book begins with an essay on how myths were made, and then follows with two essays on King Arthur and Glastonbury. The next two essays deal with the problem of modern paganism and its connection to ancient paganism. The first deals with ancient paganism and the second deals with its convoluted path to the present day. Then we have a chapter on the existence of ritual nudity, one on Christianity in C.S. Lewis and J.R.R. Tolkien, one on modern druids and a final chapter on Hutton's experience writing his previous book on modern witchcraft.

What is the result of this interesting concoction? Let's start off with some problems. The essay on druidism is somewhat dry and is largely about complicated internal squabbles among modern druids. The opening chapter starts off by pointing out how modern Celtic nationalism is based on myths. We learn about the story (first told by Hugh Trevor-Roper, to whom the book is dedicated) of how the kilt was not the ancestral uniform of the Highlanders but was designed by an English businessman in Scotland in the 1700s who wanted more convenient clothing. Much of the origins of Welsh and Cornish nationalism come from romantic English sympathizers. But the discussion of Irish nationalism is disappointing. Who, after all, is Hutton trying to refute in pointing out that many nationalists have English, Norman and Protestant origins? Everyone in Ireland knows that Wolfe Tone and Parnell were Protestants. It is Unionism, not Republicanism, that defines Irish nationalism as no more than a whining Catholic sectarianism. And Hutton's deflation of the "myth" of Drogheda, based mostly on one contentious recent monograph, ignores the hundreds of thousands who died in the course of Cromwell's supression of the Irish rebellion. Finally there is a certain undue sympathy towards the mystics and magicians he is covering. In his deflation of the remarkable claims about Glastonbury Abbey, that Arthur's bones are buried there and that it is where Joseph of Arimathea came to England, he goes out of his way to suggest that they could conceivably be true. At one point he refers to modern paganism as an "entirely valid religion" that, notwithstanding its claims to the contrary, dates no earlier than the first decades of the twentieth century. That is all very liberal and tolerant, but one wonders what an "invalid religion" would be like.

Having said that however, much of the rest of the book is interesting and useful. To turn back to the opening chapters on myths, not only do we learn of the origins of the quite false statistic that nine million people were killed in the witch trials, we also learn of the limits of oral history. Contrary to what many people have thought, oral traditions become dramatically less accurate after a century or so. Hutton goes on to describe how he tried to use oral traditions to supplement his earlier histories of the English civil war and was maddeningly unsuccessful. Sir Henry Ireton supposedly defends the honor of a daughter he did not have, Oliver Cromwell dies a non-existent violent death, Charles II's fate is confused with his father's, major events go by with some areas completely forgetting them, while others "remember" non-existent romantic trivia. Meanwhile the Cornish, who in the 16th century rebelled against the rise of Protestantism, now remember themselves as Protestant heroes. We also learn the most recent research on King Arthur. The earliest reference to him comes in the early ninth century. In the seventies there was a surge of archaeological research which supposedly proved Arthur's existence. Hutton shows that it proved nothing of the sort, but is cautious about the idea that Arthur never existed. We also learn how Tolkein's and Lewis' fantasies deviate from Christianity. In the two chapters on late paganism we learn about the traditions of late paganism and how they were transferred to the modern day. There is much talk about neoplatonism and the mysterious Sabians and the Arabian city of Harran, but Hutton is clear in showing that there was no direct continuous tradition from either source. When some of this neoplatonism surfaced in the twelfth and fifteenth centuries, they were mostly used by intellectuals who wished to use classical insights to strengthen Christianity. Hutton reminds us that the old distinction between religion (supplication to a God) and magic (invoking divine power for one's own ends) is still possible and still alive. Although modern pagans use ideas from neoplatonic and Egyptian magic, Hutton notes the contrast between modern optimism and late classical pessimism, the abstinence of the past with the sexuality of today, as well as the modern Pagan appeal to the people and the strictly minority and mysterious nature of the late paganism they invoke. There are many strange areas of the past that have been ignored by historians and are now dangerously infested with cranks. Ronald Hutton is a fine guide to these obscure areas.

This is another excellent book from Ronald Hutton. On first reading the chief delight for me is Prof. Hutton's marvellously wry and gentle style, with its keen eye for absurdities and inconsistencies in documents and the historical record, but always extending a delicious good grace to those whom he treats. Every essay in here is fascinating, moving nimbly between literary reception of texts, anthropology, historiography and sociology.
Its pages are rich with insisght and the fruits of learning, which makes for interesting reading in itself, but the pleasure is doubled by Hutton's wonderfully present and human yet always couteous prose style. Very highly recommended indeed.

Ronald Hutton has already written so extensively on the subjects covered in ths book that you wouldn't think he'd have anything else to say about them, but he still manages to come up with fresh and interesting information. The first essay in the book 'How Myths are Made' is particularly fascinating as he shows the astonishing way that myths can distort reality. You may be surprised to learn from this book for instance, that both the Scottish and Welsh national costumes were invented by English people. Even more surprising is the history of Irish nationalism, I didn't know until I read this book that the Irish revolt of the 1640s was led by the Fitzgerald family, who were of Norman descent, or that the massacre of Drogheda wasn't really much of a massacre, no women or children were killed. The 19th century rebels against Irish rule, Wolfe Tone, Parnell etc were all Protestants. Connaught, the most Catholic and Gaelic province of Ireland, was also the most amenable to English rule. The other essays in the book are also filled with interesting information. You can read about the development of the myth of King Arthur, for whose existence the evidence is very scanty, but never mind, it's a good story anyway. If you've read Mr. Hutton's previous book 'The Pagan Religions of the Ancient British Isles' you won't be surprised to learn that there is no evidence for pre-Saxon religious activity in Glastonbury, though I still treasure an irrational hope that the Holy Thorn was really planted by Joseph of Arimathea, and that the Holy Grail is still hanging around there somewhere. Other essays cover the ancient origins of modern Paganism, Witchcraft, Druidry, and ritual nmudity among other things. Occasionaly I found what I was reading a bit over my head, but mostly it is a fascinating book, he even managed to make those old bores Tolkein and C.S. Lewis seem quite interesting in the esaay I thought I would enjoy least 'The Inklings and the Gods' (i've always found 'Lord ot the Rings' one of the world's most boring books)If you enjoyed Mr. Huton's previous books you will certainly enjoy this one.

This book is another compelling, if challenging entry from honored pagan scholar Ronald Hutton. Professor Hutton has brought us previous scholar tomes including The Triumph of the Moon, a history of modern paganisem in Britain, and the historical survey, The Pagan Religions of the British Isles, and Stations of the Sun, a history of the ritual year in Britain.

As anyone who have read Hutton before will know the Professor's published work aims for the general reading audience, though without doubt an educated one. However, the challenges of reading Hutton are worth it, and it is no less so than in this reviewed work.

The books only flaw, in my opinion, is the fact that this is not a continous work at all, but a collection of essays that the writer feels are related to each other. This is most true, though a couple, essays on ritual nudity and on the pagan elements in the writings of C.S. Lewis and J.R.R. Tolkein, are interesting though they don't seem to fit within the general theme indicated by the title. The rest of the fascinating essays cover: How Myths are Made, Arthur and the Academics, Glastonbury: Alternative Histories, and histories of medieval and modern paganism.

In the end, this is a book not to be missed. The discussion is lively and the information is profound. I heartily recommend this book.

I don't have the time for a detailed review, but Hutton is simply brilliant. He's a bit of a Columbo detective and never stops digging to get as close to the truth as possible. Eventually he does have to admit that sometimes we cannot proclaim the truth despite what particular historical adherents wish. In a nutshell, for anyone wanting a richer understanding of the historical evidence of this subject, this book with its marvellous research is essential. For the most part, it is accessible to non-academic readers as well! Bravo!

These collected essays examine mainly pagans past and present. The title may be pitching an historian's scholarship more widely. For Hutton, the leading expounder of the discontinuity between modern and ancient paganism, such a wider audience may welcome his work.

The essays are uneven in length and scope, and at times some drag. I found my attention wandering on and off, but I admit far less interest in magic than witches, say, and more in Druids than the Renaissance, for example. But all chapters make thoughtful points, and Hutton phrases his judgments with tact and care. He delves into controversial subjects and dismantles falsity. The title and cover may evoke an occult or stereotyped overview of these subjects, but these are advanced essays, geared for the educated reader. Perhaps those less knowledgeable may finish these thoughtful pages with a greater respect for an historian's approach to mythmaking.

"How Myths are Made" takes on the British Isles. Kilts, atrocity tales from the English Civil War, native Irish resistance, or "traditional" Welsh dress, among many examples, can be shown to be fabricated rather than verifiable products from long ago. I found some of his discussion on Irish republicanism, the topic closest to my own studies, to be at times overstated and simplified. But he does resurrect a broad range of delightful anecdotes to elaborate his contentions. As in: the faithful hound-legend of Beddgelert, how the Russians were supposed to have been coming to English ports early in WWI, Margaret Mead's islanders, Melville's "Typee," or how 120years seems to be the maximum length one can "trust" any orally transmitted memory.

The next two essays explore Arthurian lore, first how recent academia treats the historicity of Arthur, and then how Glastonbury became a New Age center full of dubious dabblers. The fourth one looks at length into "the New Old Paganism" and seeks to find how monotheism began to supplant polytheism among non-Christians in later antiquity. "Paganism in the Lost Centuries" examines strands of ancient belief that may have become enshrined, so to speak, in the Christian-dominated culture. These two are both densely written studies. For more on this field, by an author whom Hutton barely touches upon, see Pierre Chuvin's "Chronicles of the Last Pagans." (Also reviewed by me on Amazon US recently.)

"A Modest Look at Ritual Nudity" tries to find if this practice, contrary to Hutton's earlier thinking that only Wiccans practiced it regularly as worship, and not any ancient cult, may have existed way back. The evidence of course may be suspect as often we only have detractors to track for such charges. Yet Hutton shows here as throughout his scholarship an appealing open-mindedness to sift through masses of difficult sources on touchy subjects to find what seems most likely true.

For Tolkien and C.S. Lewis, Hutton returns to their familiar stories to find more pagan foundations than many Christian apologists do for their mythologies. Hutton argues that in the tension between their faith and their love of pagan tales and multiple gods, the two Inklings gained the power that marks their best work. Especially for Tolkien, Hutton reminds us that except for an "accident of publication" (231), the Middle Earth we know would have been preceded by the origin and creation myths of the gods later assembled after his death into "The Silmarillion," and if that work had been put out first, we'd likely read differently the rather understated mindset and populated mythos within "The Lord of the Rings."

In retrospect given two works on the ancient and modern Druids, published later this decade, Hutton's "The New Druidry" appears to be a warm-up for these books. He notes how 200 years of a "dream of syncretic universalism" for pagans in the wake of Romanticism appears to be waning. We see emerging in its place a more localized, land-based practice as becoming grounded by those reclaiming and reinventing "the old native religions." (249)

My favorite essay, "Living with Witchcraft," serves as a coda for his most famous study, "The Triumph of the Moon" (1999). This was the first serious history of modern British neopaganism. Hutton contrasts the patient reception it gained among current witches and pagans-- even as it revised their own origin myths often-- vs. the fears, contempt, and ridicule indulged in by many of his academic colleagues when they learned he studied witches and witchcraft. Even with tenure, he felt his career often at risk when engaging in sensitive research into what's a misunderstood, denigrated, and/or too overdramatized yet very under-explored topic.

Hutton reminds us, for some need so, of how past scholars fumbled their investigations into witchcraft. He shows how professors have toyed with their informants from the pagan community, and how cautiously he then had to tread to keep the confidences he established. His ethics and probity speak well for his difficulties, as he relates in compelling detail how controversial witches remain for the British audience. When learned clerics and esteemed dons scoff at the legitimacy of such research, one can only suppose how everyday folks regard witches and neo-pagans among them. Hutton represents the first sustained attempt to teach the public and the professoriate about the truth of modern witchcraft and its reasons for the same respect accorded other religious practices by today's neighbors.

By the way, the "nine million" supposedly executed in "Burning Times" for their "Old Religion" are shown an extrapolation of a 1793 figure of "9,442,994" from a unnamed local historian in the first chapter. (30) In this final section, Hutton shows how "Triumph of the Moon" sought a more sober revision of inflated discussion of witches past and present. (He estimates 40-50,000 probably died for witchcraft in Europe during Christian hegemony. [31])

Ronald Hutton is a scholar who cuts through all the crap and gets straight to the truth. He doesn't mess around and he does not have time for biases. Most noted for his study of modern witchcraft in book "Triumph of the Moon" Ronald Hutton has drafted a book that is really a compilation of different essays on different subjects that are pertinent facets of modern paganism. This book is easily read and scholarly at the same time which serves to make it a very enjoyable read as well as informative.

The first essay talks about myths and how they are created. Often times a groups oral history maybe composed of myths. Myths are often legends composed around a certain event or monument. As the author shows myths are outright inventions meant to bolster ethnic pride and carry forth an idea much like propaganda would. The author gives several examples of national myths that clearly have no basis in fact. This could cover everything from battles and historical event all the way to monuments. Many monuments are not as old as reported and the stories surrounding them are equally untrue.

The next area of the author's study is King Arthur. King Arthur is rather a tough figure to pin down. There are several candidates as to who could be the real Arthur. no one knows for sure. Glastonbury Tor is an area often associated with King Arthur. supposedly it is the place where he and Queen Guenivere are buried. Further mythology connects it to Joseph Aramathea. Excavations show, however, that the earliest the building there could have been built was the 10th century ad and most likely they were built by Anglo Saxons. A bit too late for King Arthur.

Ronald Hutton through his research has come to the conclusion that Modern Paganism is not an extension of old paganism. He argues that once Europe adopted Christianity they stopped practicing their pagan religions. Modern Wicca tends to be duotheistic meaning that there are two deities, God and Goddess. Old pagan religions were pantheistic meaning they had a multitude of gods. Monotheism is a belief in one god. The Paganism of the late antiquity period before the onset of Christianity had a tendency to lean towards monotheism and that there was one main creator god and the rest of the deities were spirits under his command. Duo theistic ideas were present as well. There was a main idea that underneath the main creator god there was a female consort who had the responsibility of bestowing life and fertility to the life below on earth. At times this female deity would be called Natura, Venus or even Hekate.

There are other division to be noted with regards too modern paganism and the pagan religions of old. One such division was the use of magic. There is a difference between religion and magic. In religion the followers would worship the given deity and make request. In magic the magician could compel the spiritual entity to perfrom a certain task on their behalf. The Egyptians believed that one could use Heka or spiritual power to coerce a deity. in modern wicca on can perform magic by using their own energy and by asking the deity to lend them power.

It is to be acknowledged that many ideas of magic and religion flowed to Europe from the Middle East via Rome and Greece. Many of these ideas originated in Babylon, Egypt and Phoenicia/Canaan/Israel. The idea of a male God dying at winter and being resurrected is one such motif. Another motif that is found in ritual magic and Wicca, that came to Europe from the Middle East is casting the circle and calling the 4 elements. This played a big part in Greek and Middle Eastern ritual.Modern paganism inherited it from them.

Harran was a place in the Middle East located near what is considered northern Iraq and southern Turkey that was a surviving bastion of Paganism that survived as such until the 11th century ad. It survived and thrived under Islamic rule. Some say that pagan wisemen were transferred there after the Greco-Roman world became christian. it is know that the Muslim mystics known for the art of making amulets and talismans learned what they knew from the mystics of Harran.This would later come to Europe via the Muslims when they conquered Spain.

Two important things are salient with Harranian mysticism. Not only did they cast circle and call quarters but they also subscribed to Hermeticism and neo platonism.
The idea behind Hermeticism is that magic was performed to help one unite with the creator. neo Platonism taught that there was one God but that his many emanations allowed for the creation of different deity like beings. each being had control over a different astral body or planet. Inclusive of the sun and the moon . there seven total. each planet exerted some influence on different earthly matters. Associated with these planet were different stones, colors and herbs.

Mystics believed that planetery powers could be channeled into objects or amulets. neo Platomic ideas along with circle casting would make inroads into Medieval European high magic and Christianity. It often created much controversy.

The last four chapters cover ritual nudity in Wicca, Pagan ideas on two Christian fantasy writers and the rise of Modern druidry. Pagan thought and motif has always beenm a potent undercurrent in Europe. Norse mythology combined with Christian ideology influence a group of creative writers called the inklings. Two such writer from that group were CS. Lewis and Jrr. Tolkien. Their mythology is discussed at length. Ritual Nudity is practiced in some Wiccan groups to enforce equality and increase power. The author examine how ritual nudity was used in ancient times and in modern times and examines some reasons why it would be employed in modern Wicca.
Modern Druidry is not really related to ancient druidry but rather it is a recreation. The first groups to call themselves Druids were actually fraternal groups that offered support and friendship. late on they would develop in religious groups who's rituals borrowed heavily from Masonic organization and structure. This book get a 5 out of 5 rating.

This volume of Hutton's scholarship on pagan topics appears to be a collection of essays that were written over several years and have been assembled into a book format with little or no thought to common ground. Hutton displays his very pronounced literary centric view of history, anything that wasn't written, or the writing didn't survive, didn't happen. For example, in the chapter on "Paganism in the lost centuries, Hutton goes on and on about some irrelevant Middle Eastern city which may or may not have sheltered pagans among other religions. While that might be of interest to some Middle Eastern medievalist scholars, it has absolutely nothing to do with the history of western paganism. In his "Modest look at Ritual Nudity," Hutton accurately points out that Wicca is very unique in its use of nudity, and astutely understands that Wiccan nudity helps to separate the serious religious seeker from the casual wannabe. However, Hutton goes on and on with more irrelevant twaddle about ancient Greek art and Roman nudity. Overall it displays what Hutton admits to be his "religion," scholarship based on writing as the sacred. It is perhaps a good book for those who share Hutton's "religious" views about the sacredness of the written word, and the corresponding lack value of anything not written. I rate it a 3 because he has some interesting things to say, but seems to lack real understanding of his topic.