Bone and Sickle

Al Ridenour

BONE AND SICKLE explores historical topics related to folklore and horror. With acerbic wit and a scholarly penchant for the grotesque, rogue folklorist Al Ridenour delves into a wide but carefully curated range of topics illustrated by stories from historical texts. Narratives are given dramatic readings by “Mrs. Karswell” (Sarah Chavez) backed by richly produced soundscapes blending original music, sound design and effects. The source books, though real enough, are said to be pulled from an imaginary library on Ridenour’s imaginary estate situated somewhere in the neighborhood of Charles Addams and Edward Gorey. Each episode begins with our hosts briefly discussing goings-on in this world before diving into the topic to be explored. Occasional alternate-format episodes are devoted to readings of classic horror stories or curious texts of antiquarian interest. Ridenour is the author of “The Krampus and the Old, Dark Christmas” (2016) and “A Season of Madness: Fools, Monsters, and Marv

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  1. 3d ago

    Born with a Veil

    To be “born with a veil” (or caul) was once regarded as far more than an unusual circumstance of birth. Being born with a caul—a portion of the amniotic membrane adhering to a newborn’s head or face—is exceedingly rare, but across centuries of European folklore it has been interpreted as a visible mark of destiny. Those born with one might be exceptionally lucky, possess healing powers or second sight, or enjoy supernatural protection. In darker traditions, however, the same sign could mark a future witch, vampire, or uncanny wanderer between worlds. We  begin with a quoted passage from Stephen King’s The Shining, in which it’s revealed that the psychically gifted boy, Danny, is born with a veil and then go on to explore the colorful vocabulary once used to describe the caul. Across Europe, the membrane was imagined as a cap, hood, helmet, veil, cloak, or even a “shirt.” Such expressions as the Scottish “sely hoo,” or blessed hood, and various European equivalents of “lucky cap” and “victor’s cloak” reveal how closely the caul became associated with good fortune. Next, we explore the earliest written references to caul superstition. A fourth-century biography of the short-lived Roman emperor Diadumenian claims that he was born with a strange membrane resembling a diadem. The same source remarks that midwives sold preserved cauls to lawyers who believed they would bring success in court. Medieval clerical writings likewise condemn officials who carried cauls as charms to silence their opponents. From there, the episode turns to the long practice of preserving cauls as family treasures. Surviving examples include a fragment enclosed in a locket made for John Monson in 1597 and the caul of King Frederik III, kept in a silver casket in the Danish royal collections. Seventeenth-century wills describe cauls mounted in jeweled gold settings and passed down as heirlooms believed to ensure a family’s continuing prosperity. We then address the caul’s most famous power: protection from drowning. By the eighteenth century, cauls were carefully dried on paper and sold to sailors. Newspaper advertisements addressed “gentlemen of the Navy” and offered them as proven safeguards for long voyages. Dickens satirized the trade in the opening of David Copperfield, whose caul attracts only one bidder—an attorney offering cash and sherry, but refusing to pay enough to guarantee himself against drowning. Caul kept as sailor’s charm displayed at Pitt Rivers Museum, Oxford. Mrs. Karswell then shares some amusing 19th-century anecdotes found in the long-running Oxford University publication, Notes and Queries. One report has a caul-bearing child who hild floated like a cork whenever his mother tried to bathe him. Another describes a prognosticating caul that physically transformed in sympathy to events unfolding in the life of the person consulting it. We then travel to Iceland, where fetal membranes were associated with the fylgja, a guardian spirit or external portion of the soul. The afterbirth could not safely be discarded, exposed to animals, or burned, lest the child lose this spiritual companion. Yet the caul’s magical potential also made it dangerous: witches were said to use it in love potions, and a seventeenth-century French royal midwife warned her colleagues never to preserve one because sorcerers might obtain it. The episode then moves eastward, where caul folklore grows considerably darker. In Romania and Poland, those born beneath the membrane might be destined to become strigoi or other vampiric beings after death. In Slovenia, Croatia, and Serbia, however, caul-born men could become supernatural defenders known as Krsniki or Zduhaći. Their spirits left their bodies at night to battle dragons, witches, night-hags, and rival spirit warriors threatening the community’s health, weather, and harvest. Next, we encounter their Italian counterparts, the Friulian Benandanti, or “good walkers.” Sixteenth- and seventeenth-century inquisitorial records describe men and women who claimed that everyone born with a caul was summoned in adulthood to fight witches during nocturnal spirit journeys. Their preserved “little shirts” were worn around the neck, blessed with prayers and Masses, and believed to protect soldiers or help lawyers win cases. Finally, we return to the sea with the curious modern discovery of a preserved caul purportedly belonging to a survivor of the the sinking of the Titanic. Its provenance may be uncertain, but the topic at least provides an excuse to close out with a snippet of the uniquely grim yet lighthearted folk song, “When the Great Ship Went Down.”

  2. Jul 5

    The Dog-Head Saint

    Today he’s known mainly as a figure from medals carried to insure safe travels, but that image of a giant carrying the Christ Child across a dangerous river represents only the final stage in the long and strange evolution of the saint’s legend. Earlier or forgotten aspects of his story describe Christopher as a ferocious soldier, the Devil’s servant, a cannibal, and even a dog-headed monster. Our episode begins with the best known version of the tale recorded in The Golden Legend, the classic collection of hagiographies written in 1260 by Jacobus de Voragine, a Dominican friar in Genoa. Here Christopher begins as Reprobus, a fearsome giant determined to serve the most powerful master in the world. He first serves a king but abandons him after discovering that the king fears the Devil. Reprobus then serves the Devil, only to discover that the Devil fears Christ. Seeking Christ, Reprobus encounters a hermit who suggests that the giant use his great strength to carry travelers across a dangerous river. One night, a mysterious child asks to be carried across. As Reprobus struggles through the rising water, the child becomes impossibly heavy. Upon reaching the opposite bank, the child reveals himself as Christ and explains that Reprobus has carried both the Creator of the world and the weight of the world itself. Reprobus thus becomes Christopher, the “Christ-bearer.” St. Christopher Joachim Patinir, ca1522 After this, comes the lesser known portion of his tale, in which Christopher runs up against Roman authorities thanks to his Christian faith. As a sign that God will be with him throughout this, his staff planted in the earth breaks for in blooms, and he’s preserved through numerous tortures and attempts to execute him after his refusal to worship the pagan gods. Tortures fail to harm him, arrows miraculously stop in midair, and Christopher eventually converts the king responsible for his execution. But earlier versions of the legend are considerably stranger. Around 986, the German poet and bishop Walter von Speyer composed two Latin hagiographies, one in prose and the other in verse. Each tells the same story, describing Reprobus as a dog-headed cannibal who could only bark before his conversion.  The struggle through the river in de Voragine 13th-century tale is prefigured as a spiritual transformation in the waters of baptism. An even older narrative is found in the apocryphal Acts of Andrew and Bartholomew.  Pieced together from parchments dated to the fifth and seventh centuries, merging stories, which originated in Coptic communities of Syria and Egypt. We hear extensive passages from this particularly fantastical tale read by Mrs. Karswell. In this  which the apostles encounter a terrifying dog-headed cannibal named “Bewitched.” He’s been sent to them by an angel, who first removes his appetite for human flesh and grants him the ability to speak. Renamed  “Christian,” (though still referred to in the text as “Dog’s Head”) the creature accompanies the apostles on their missionary adventures to the city of Barbaros in Parthia. When they are sentenced to death by  lions and tigers , Dog’s Head is divinely granted a temporary return to his original ferocity, and slaughtering and devouring the beasts. Walls of fire, flying idols, miraculous floods, and more grisly tortures and martrydoms, round out the narrative. St. Christopher in 18th-century Russian lubok print A slightly later Greek text, The Martyrdom of Christophoros, brings the legend closer to its later form. Reprobus remains a dog-headed member of a cannibalistic race but is now a soldier and Christian. After receiving the miraculous ability to speak, he converts fellow soldiers, survives numerous tortures, and is eventually martyred by beheading. Several elements later incorporated into the Golden Legend—including his flowering staff, conversion of prostitutes, and miraculous survival of torture—already appear here. A number of images of St. Christopher as a dog-headed man (Greek: cynocephalus) can still be seen  in Orthodox churches and monasteries in Greece and Russia.  While Peter the Great sought to suppress this portrayal of the saint in 18th-century Russia, his efforts were not entirely successful, and cynocephalus icons are produced by the sect known as the Old Believers to this day. Christopher’s monstrous appearance was intended to highlight both a pre-conversion savagery and extreme foreignness. Ancient and medieval writers from Herodotus to Marco Polo repeatedly placed imaginary races of dog-headed humans in distant, unexplored lands. Armenian illustrations of Pentecost similarly included cynocephali to symbolize the remotest peoples reached by Christianity. We end the episode with a nod to St. Christopher’a identity as the patron saint of surfers, and a bit of music from that unlikely nexus of Catholicism and surfdom.  It’s a snippet from the 1999 album by the Malibooz, Living Water:The Surfer’s Mass. “Horse-head” St. Christopher from Assumption Cathedral, Sviyazhsk, Russia.

  3. Jun 6

    Robert the Devil: Medieval Legend, Gothic Opera

    Robert the Devil is a supernatural medieval legend that inspired a 19th-century French opera, which incorporates key elements from a seminal Gothic novel.  The opera and legend are substantially different but both interesting. We begin with Giacomo Meyerbeer’s 1831 opera, Robert le diable, which gained notoriety for a ballet sequence in Act III, which portrays an attempted seduction of the hero, Robert, Duke of Normandy, by the ghosts of corrupted nuns, freshly risen from their crypts. The scene is not found in the original legend, but as we learn, was borrowed from a particularly sensationalistic early Gothic novel,The Monk, written by Matthew Gregory Lewis in 1764.   We also learn that Meyerbeer’s chief librettist, Eugène Scribe later went on to crib another storyline from Lewis’ The Monk for the 1854 opera by composer Charles Gounod, La nonne sanglante (“the bloody nun”). Rendering of cloister set for Paris Opera premiere. Along the way, we learn how Robert le diable helped save the financially imperiled Paris Opera after its royal subsidy had been withdrawn following the July Revolution of 1830.  Along with public curiosity about the scandalous ballet, ticket sales owed much to the 19th-century equivalent of special effects — flashy and innovative stagecraft (new gaslight design, trapdoors, floating will-o-the-wisps, etc.) and a spectacular set replicating a ruined gothic monastery. Hans Christian Andersen, George Sand and Frédéric Chopin lavishly praised the production. Honoré de Balzac and Alexander Dumas worked mentions of the opera into their novels. Edgar Degas painted not one but two renderings of the Ballet of the Nuns. Edgar Degas’ rendering of the “Ballet of the Nins” The opera also gave birth to a new style of ballet, one linked to Romanticism’s interest in the supernatural: ballet blanc, “white ballet” named for the innovative long, flowing skirts that lent themselves to wafting movements suggestive of misty wisps moving in the darkness. The opera’s 1847  London premiere was attended by Queen Victoria and featured superstar soprano Jenny Lind as Robert’s sister.  Traffic came to a standstill as unruly spectators mobbed the streets hoping for  glimpse of either celebrity. The second half of our episode tells the original story of Robert the Devil.  It first appeared around 1250, sketched out in short form by the Dominican monk, Étienne de Bourbon, in a collection of exempla, or moral tales intended to be used by priests in their homilies.  A couple decades later, details were filled out in a longer, anonymous  poem, preserved in France’s National Library. Then by the late 14th century, it was rendered as a miracle play in “Forty Miracles of Our Lady,” commissioned by a guild of Parisian goldsmiths. By 1500, the story had arrived in Britain. That year, Wynkyn de Worde, assistant to pioneering London printshop owner Thomas Caxton, issued a chapbook prose translation hewing close to the French 14th-century poem. I found the Wynkyn de Worde text reproduced in a handsome 1904 volume complete with line illustrations, decorative initials, and borders reminiscent of the Arts and Crafts books of William Morris.  As promised in the episode, here is the link to that book: Robert_the_Deuyll.pdf.  (Visit the show notes on the Bone and Sickle website if you can’t click link). As for the  story itself, it’s best you enjoy it without spoilers as told by Mrs. Karswell.  It’s full of demonic wrath, battles, court intrigue, miracles, pathos, and a very and prolonged peculiar penance.  All told in charming 16th-century language with all the little sound-design extras you’ve come to expect from Bone and Sickle.

  4. Apr 27

    Trolls in Medieval Literature

    Trolls, as presented in medieval literature, are vastly different from the creatures we encountered in our last episode’s collection of 19th-century Norwegian folktales. These Viking Age trolls are more vividly and gruesomely described, and the “troll-women,” who frequently appear, are akin to witches. We begin the show with a traditional song from the Faroe Islands, “Trøllini í Hornalondum,” telling the story of St. Olaf battling trolls on the coast of Norway. While the ballad presumably originated in Norway, it was first recorded by the Danish priest and historian, Anders Sørensen Vedel, in his 1591 publication, Hundredvisebogen, (the Book of 100 Ballads.”) While St. Olaf (King Olaf II) is regarded as the saint who drove paganism from Norway, but this struggle was ongoing with trolls continuing to embody the old pagan world as belied by various tropes — their dislike of church bells, and fear of crosses. We’ll next look at an interesting case from Iceland presenting a direct conflict between a church and troll.  It was collected by the “Grimm of Iceland, Jón Árnason, a librarian and museum curator who published several collections of folktales, beginning in 1852. This one’s from his second volume of Icelandic Folktales, published in 1864. Encountering trolls — St. Olaf’s Journey, fresco by Albertus Pictor, ca 1470, Dingtuna Church, Västerås, Sweden After this, we have some general comments on the historical relationship between trolls and giant (jötunn, Þurs and risi) as well as trolls and witches or sorcery (trollldom). Our remaining four stories (the medieval ones) present trolls of the Icelandic saga, epic stories written in Old Norse and relating the adventures of ancestral heroes or rulers, usually with some connection to history but with certain creative embellishments. A subset of the sagas, which take place in their own mythic timeline, the fornaldarsögur were simply written with entertainment in mind and more oriented toward magic and folklore – and trolls, so we’ll lok at a couple of those. And then there’s the þáttr, a sort of short story, sometimes folded into sagas, but often reproduced independently. As this is a storytelling episode, we won’t spoil the tales with plot outlines, but the sources (in order) are: The 14th-century þáttr of Thorstein Ox-leg as translated in William Craigie’s 1896 compilation called Scandinavian Folk-lore: “The Trolls in the HeidarWoods.” A portion of the 16th-century Illuga Saga, translated by Philip Lavender of the Viking Society for Northern Research. The 14th-century Saga of Grim Shaggy-Cheek as translated by Peter Tunstall. The Saga of Orm Stórolfsson, as retold by William Craigie in Scandinavian Folk-lore – under the title: “The Giant on Sauðey” (Saudey). We end with a song “Trøllini Trampa,” (“Trolls’ Tramp”) by the Faroese band, Spælimenninir

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out of 5
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About

BONE AND SICKLE explores historical topics related to folklore and horror. With acerbic wit and a scholarly penchant for the grotesque, rogue folklorist Al Ridenour delves into a wide but carefully curated range of topics illustrated by stories from historical texts. Narratives are given dramatic readings by “Mrs. Karswell” (Sarah Chavez) backed by richly produced soundscapes blending original music, sound design and effects. The source books, though real enough, are said to be pulled from an imaginary library on Ridenour’s imaginary estate situated somewhere in the neighborhood of Charles Addams and Edward Gorey. Each episode begins with our hosts briefly discussing goings-on in this world before diving into the topic to be explored. Occasional alternate-format episodes are devoted to readings of classic horror stories or curious texts of antiquarian interest. Ridenour is the author of “The Krampus and the Old, Dark Christmas” (2016) and “A Season of Madness: Fools, Monsters, and Marv

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