THE COVERLEY WITCH
Spectator No. 117. Addison.
There are some opinions in which a man should stand neuter, without engaging his assent to one side or the other.
Such a hovering faith as this, which refuses to settle upon any determination, is absolutely necessary to a mind
that is careful to avoid errors and prepossessions. When the arguments press equally on both sides in matters that
are indifferent to us, the safest method is to give up ourselves to neither.
It is with this temper of mind that I consider the subject of witchcraft. When I hear the relations that are made
from all parts of the world, not only from Norway and Lapland, from the East and West Indies, but from every
particular nation in Europe, I cannot forbear thinking that there is such an intercourse and commerce with evil
spirits as that which we express by the name of witchcraft. But when I consider that the ignorant and credulous
parts of the world abound most in these relations, and that the persons among us who are supposed to engage in
such an infernal commerce are people of a weak understanding and a crazed imagination, and at the same time
reflect upon the many impostures and delusions of this nature that have been detected in all ages, I endeavor to
suspend my belief till I hear more certain accounts than any which have yet come to my knowledge. In short,
when I consider the question, whether there are such persons in the world as those we call witches, my mind is
divided between the two opposite opinions: or rather (to speak my thoughts freely) I believe in general that there
is, and has been, such a thing as witchcraft; but at the same time can give no credit to any particular instance of it.
I am engaged in this speculation by some occurrences that I met with yesterday, which I shall give my reader an
account of at large. As I was walking with my friend Sir Roger by the side of one of his woods, an old woman
applied herself to me for my charity. Her dress and figure put me in mind of the following description in Otway:
In a close lane as I pursued my journey,
I spied a wrinkled hag, with age grown double,
Picking dry sticks, and mumbling to herself.
Her eyes with scalding rheum were gall'd and red;
Cold palsy shook her head; her hands seem'd withered;
And on her crooked shoulders had she wrapp'd
The tatter'd remnants of an old striped hanging,
Which served to keep her carcase from the cold:
So there was nothing of a piece about her.
Her lower weeds were all o'er coarsely patch'd
With diff'rent color'd rags, black, red, white, yellow,
And seem'd to speak variety of wretchedness.
As I was musing on this description, and comparing it with the object before me, the Knight told me that this very
old woman had the reputation of a witch all over the country, that her lips were observed to be always in motion,
and that there was not a switch about her house which her neighbors did not believe had carried her several
hundreds of miles. If she chanced to stumble, they always found sticks or straws that lay in the figure of a cross
before her. If she made any mistake at church, and cried Amen in a wrong place, they never failed to conclude that
she was saying her prayers backwards. There was not a maid in the parish that would take a pin of her, though she
would offer a bag of money with it. She goes by the name of Moll White, and has made the country ring with
several imaginary exploits which are palmed upon her. If the dairymaid does not make her butter come so soon as
she should have it, Moll White is at the bottom of the churn. If a horse sweats in the stable, Moll White has been
upon his back. If a hare makes an unexpected escape from the hounds, the huntsman curses Moll White. Nay, says Sir Roger, I have known the master of the pack, upon such an occasion, send one of his servants to see if
Moll White had been out that morning.
This account raised my curiosity so far, that I begged my friend Sir Roger to go with me into her hovel, which
stood in a solitary corner under the side of the wood. Upon our first entering Sir Roger winked to me, and pointed
at something that stood behind the door, which, upon looking that way, I found to be an old broomstaff. At the
same time he whispered me in the ear to take notice of a tabby cat that sat in the chimney−corner, which, as the
old Knight told me, lay under as bad a report as Moll White herself; for besides that Moll is said often to
accompany her in the same shape, the cat is reported to have spoken twice or thrice in her life, and to have played
several pranks above the capacity of an ordinary cat.
I was secretly concerned to see human nature in so much wretchedness and disgrace, but at the same time could
not forbear smiling to hear Sir Roger, who is a little puzzled about the old woman, advising her as a Justice of
Peace to avoid all communication with the devil, and never to hurt any of her neighbors' cattle. We concluded our
visit with a bounty, which was very acceptable.
In our return home, Sir Roger told me that old Moll had been often brought before him for making children spit
pins, and giving maids the nightmare; and that the country people would be tossing her into a pond and trying
experiments with her every day, if it was, not for him and his chaplain.
I have since found upon inquiry that Sir Roger was several times staggered with the reports that had been brought
him concerning this old woman, and would frequently have bound her over to the county sessions had not his
chaplain, with much ado, persuaded him to the contrary.
I have been the more particular in this account, because I hear there is scarce a village in England that has not a
Moll White in it. When an old woman begins to dote, and grow chargeable to a parish, she is generally turned into
a witch, and fills the whole country with extravagant fancies, imaginary distempers, and terrifying dreams. In the
meantime, the poor wretch that is the innocent occasion of so many evils begins to be frighted at herself, and
sometimes confesses secret commerce and familiarities that her imagination forms in a delirious old age. This
frequently cuts off charity from the greatest objects of compassion, and inspires people with a malevolence
towards those poor decrepit parts of our species, in whom human nature is defaced by infirmity and dotage.
Source- Internet
The Coverley Witch: Addison's Spectator No. 117
Welcome to this deep-dive newsletter, where we dissect a cornerstone of 18th-century English periodical literature. Our focus is Joseph Addison's Spectator No. 117, popularly known as "The Coverley Witch" or "The Story of Moll White." This essay is more than a quaint tale; it is a masterclass in using satire, character, and narrative to critique societal ills. For postgraduate students, understanding this text is key to grasping the intellectual currents of the Augustan Age—a period obsessed with reason, manners, and social reform.
This analysis will guide you through:
A concise summary of the narrative.
An exploration of its central themes.
A breakdown of Addison's sophisticated literary techniques.
A critical appreciation of its lasting impact.
A brief note on the author and his mission.
Newsletter Outline
Introduction: The Spectator's Guiding Voice
Summary: The Tale of Moll White
Main Themes: A Lens on 18th-Century Society
The Critique of Superstition and Ignorance
The Mechanism of Scapegoating and Social Fear
Reason and Enlightenment as Antidotes
The Plight of the Marginalized Woman
Literary Techniques: How Addison Crafts His Argument
The Persona of Mr. Spectator
Irony and Satire
Et in Arcadia Ego: The Dark Side of the Idyllic Countryside
Vivid Imagery and Characterization
Critical Appreciation:
About the Author: Joseph Addison (1672-1719)
Joseph Addison was an English essayist, poet, playwright, and politician. He was a central figure in the Augustan Age of English literature. Alongside his collaborator Richard Steele, he pioneered the periodical essay. His prose style—urbane, polished, and gently humorous—was celebrated for its clarity and was considered a model of English writing for centuries. His work in The Spectator and The Tatler was instrumental in shaping the tastes and morals of the emerging middle class, promoting virtues of moderation, tolerance, and reason.
Introduction:
The Spectator was a daily publication founded by Joseph Addison and Richard Steele in the early 1700s. Its goal was to "enliven morality with wit, and to temper wit with morality." It sought to refine British society by commenting on manners, philosophy, and culture. The voice for this project was the fictional Mr. Spectator, an observant, rational, and gently humorous narrator who reports on the world from his club, which includes the lovable, eccentric country squire Sir Roger de Coverley. Spectator No. 117 is one of the famous "Coverley Papers," which use Sir Roger and his rural world to explore broader societal issues.
Summary:
The essay does not begin with Moll White directly. Instead, it opens by establishing a frame narrative. The anonymous, rational narrator, Mr. Spectator, is on a journey with his friend, the benevolent but somewhat naive country squire Sir Roger de Coverley. This setting is crucial because it positions the reader alongside Mr. Spectator—an outsider and observer of rural life.
As they travel through the countryside, Sir Roger points out a specific, dilapidated dwelling. Addison’s description is intentionally atmospheric:
The Setting: The house is "a little Habitation," isolated and located on the edge of the woods.
The Atmosphere: It is described as gloomy and neglected, with a "melancholy Aspect." This visual imagery immediately sets a tone of decay and sorrow, not of supernatural terror.
It is at this moment that Sir Roger, lowering his voice and showing visible unease, informs Mr. Spectator that this is the home of a witch. This reaction from a normally authoritative figure like Sir Roger instantly demonstrates how deep-seated and pervasive the belief in witchcraft is within the community.
The Portrait of Moll White - The "Witch" as a Victim
Instead of presenting a monstrous figure, Mr. Spectator recounts the common description of Moll White, painting a picture designed to evoke pity rather than fear. The details are meticulously chosen to highlight her humanity and vulnerability:
Her Appearance: She is an "old, wrinkled Woman." The focus on her age and physical frailty is the first point of sympathy. She is not powerful; she is feeble.
Her Economic Status: She wears "coarse and dirty Rags," signifying extreme poverty. She has no means and is entirely dependent on the whims of the parish.
Her Social Status: She lives alone, with no family or community to protect her. This isolation makes her a safe target for persecution.
This characterization is the core of Addison's argument. The archetype of the witch—an old, poor, solitary woman—is shown to be a social construct, a label applied to the most vulnerable member of society.
The Mechanics of Scapegoating - How Superstition Works
This is the most critical part of the summary, where Addison lays bare the social psychology of the villagers. He provides a list of commonplace misfortunes for which Moll White is automatically blamed. These examples are deliberately mundane and irrational:
If a younger woman's health declines.
If a piece of household china falls and breaks.
If "the Dairymaid cannot make her Butter come."
If a child suddenly has a fit.
If a farmer's livestock becomes sick.
The logic, or lack thereof, is clear: any unexplained negative event finds its cause in Moll White. The community does not seek rational explanations (e.g., disease, accident, or human error). Instead, they project their fears and frustrations onto a single, defenseless individual. This process gives a simple, tangible answer to complex problems, creating a false sense of understanding and control. She becomes the community's scapegoat.
Conclusion
After presenting the superstitious beliefs, Mr. Spectator, as the voice of Enlightenment reason, systematically dismantles them. He offers logical, natural explanations for the "supernatural" phenomena attributed to Moll White:
The "strange Noises" heard from her house are not the cackling of imps or familiars, but the sound of the wind whistling through her broken windows and crumbling walls—a direct consequence of her poverty.
Her "midnight Wanderings" are not her flying on a broomstick to attend witches' sabbaths, but a desperate old woman foraging for sticks to warm her miserable home.
Having debunked the myth, Addison delivers his powerful and famous concluding insight. He states that there is "scarce a Village in England all over, that has not a Moll White in it."
This line universalizes the problem. It is not about one unique witch in one unique village. It is a systemic issue. He explains that when a poor, elderly woman (often a widow) becomes a financial burden—"grow[s] chargeable to a Parish"—the community finds it easier to brand her a witch than to compassionately support her. The "witchcraft" is a pretext to ostracize her, to make her an outcast, and thus to absolve themselves of the social and economic responsibility of caring for her.
Main Themes:
The Critique of Superstition and Ignorance
Description: This is the essay's central theme. Addison attacks the unthinking belief in witchcraft, which he saw as a relic of a less enlightened, barbaric past. He portrays the villagers' fears not as genuine spiritual concerns, but as products of ignorance and a failure to apply reason. He uses logic to explain the "supernatural" phenomena, advocating for a worldview based on observation and rational deduction, in line with the emerging Enlightenment ideals.
The Mechanism of Scapegoating and Social Fear
Description: Addison brilliantly exposes the social psychology of scapegoating. Moll White is a convenient outlet for the community's anxieties. By blaming her for random misfortunes, they create a false sense of control and order. This allows them to avoid confronting the complexities of cause and effect, or their own responsibilities. The essay shows how fear of the "other"—in this case, a poor, solitary woman—leads to persecution.
Reason and Enlightenment as Antidotes
Description: Mr. Spectator serves as the voice of reason amidst the villagers' hysteria. His calm, analytical perspective is the antidote to their irrationality. The essay itself is a tool of enlightenment, designed to educate its readers and persuade them to abandon superstitious thinking. It promotes a society governed by calm judgment rather than frenzied fear.
The Plight of the Marginalized Woman
Description: Though not a feminist text in the modern sense, the essay offers a poignant critique of the vulnerability of women, particularly those who are old, poor, and without male protection. Moll White's status as a "witch" is directly linked to her gender and her economic dependence on the parish. Addison highlights the injustice of a system that first marginalizes a woman and then demonizes her for her marginalization.
Literary Techniques: How Addison Crafts His ArgumentThe Persona of Mr. Spectator
Irony and Satire
Description: Addison’s satire is not savage but gentle and ironic. He does not scream at ignorance; he laughs at it. For example, he ironically notes that the villagers are so sure of Moll's powers that they "feel themselves in as much Danger from her, as if she were a Mother in Law." This use of understatement and wit makes the criticism more effective and palatable for his educated audience.
Et in Arcadia Ego: The Dark Side of the Idyllic Countryside
Description: The 18th century often idealized rural life as a pure, simple alternative to corrupt London. Addison subverts this pastoral ideal. Sir Roger's estate, while generally benevolent, harbors this dark secret of persecution. The phrase Et in Arcadia Ego ("Even in Arcadia, I am here") suggests that death, darkness, and ignorance exist even in the most idyllic settings. The "witch" in the woods is the blight on the pastoral dream.
Vivid Imagery and Characterization
Description: Addison’s description of Moll White is powerfully evocative. He paints a picture of a "wrinkled old Woman" with a "mumbling Mouth," dressed in "the Coarsest and Dirtiest Rags." This imagery does not make her monstrous; it makes her pitiable. It immediately aligns the reader's sympathy with her and against her accusers, strengthening his argument.
Critical Appreciation:
Spectator No. 117 is a landmark text for several reasons. Historically, it represents a significant shift in intellectual attitude, contributing to the decline of witchcraft trials in England by making belief in witches seem backward and irrational. Literarily, it showcases the essay form at its most potent—a vehicle for social and philosophical commentary that is both entertaining and instructive.
The Public Sphere: How print culture created a space for rational-critical debate.
The Rise of the Periodical: Its influence on the development of the English novel, particularly in character development (Sir Roger is a precursor to later fictional characters).
The Style of the Augustan Age: Characterized by clarity, elegance, and a focus on balance and reason.
Its themes of scapegoating, misinformation, and the persecution of the marginalized remain chillingly relevant in the modern era, making it a text for all ages.
Multiple Choice Questions: Addison's "The Coverley Witch"
1. What is the primary rhetorical purpose of Joseph Addison's "The Coverley Witch"?
a) To record an authentic case of witchcraft for historical posterity.
b) To terrify the reader with a chilling supernatural tale.
c) To critique societal superstition and the scapegoating of the marginalized using reason and satire.
d) To advocate for the legal prosecution of those who accuse others of witchcraft.
2. How does the character of Sir Roger de Coverley function in the narrative?
a) He is the voice of reason who logically disproves the witch theory.
b) He is a sinister figure who leads the persecution against Moll White.
c) He represents the well-meaning but superstitious gentry, whose beliefs lend credibility to the villagers' fears.
d) He is a learned judge who presides over the witchcraft trial.
3. Which of the following best describes Addison's portrayal of Moll White?
a) A powerful and malevolent sorceress who threatens the village.
b) A comic figure who is in on the joke and deceives the villagers.
c) A mysterious and ambiguous character whose powers are never confirmed or denied.
d) A pitiable, impoverished old woman who is a victim of her community's fear and neglect.
4. According to the essay, what is the underlying social reason a woman like Moll White is branded a witch?
a) She actively practices dark magic and curses her neighbors.
b) She openly challenges the religious authorities of the parish.
c) She becomes a financial burden ("chargeable") to the parish as she ages and lives in poverty.
d) She is a foreigner with strange customs that the villagers do not understand.
5. What literary technique does Addison primarily use to expose the absurdity of the witchcraft accusations?
a) Graphic and horrifying imagery
b) Complex poetic meter
c) Gentle irony and logical deconstruction
d) Direct and angry invective
6. Mr. Spectator explains the "supernatural" noises from Moll White's house as:
a) The voices of her demonic familiars.
b) The natural sound of the wind whistling through her broken windows.
c) Her incantations and spells.
d) The cries of imprisoned children.
7. The line, "there is scarce a Village in England that has not a Moll White in it," serves to:
a) Confirm the widespread existence of witchcraft in 18th-century England.
b) Praise the resilience of elderly women in rural communities.
c) Universalize the problem, showing that scapegoating the vulnerable is a common social ill.
d) Criticize the poor architectural quality of rural dwellings.
8. Which Enlightenment ideal is Mr. Spectator embodying when he offers rational explanations for the phenomena blamed on witchcraft?
a) Romanticism
b) Skepticism and empirical reasoning
c) Religious dogma
d) Political conservatism
9. The essay suggests that the villagers' belief in Moll White's witchcraft primarily serves to:
a) Provide them with a powerful ally against other towns.
b) Offer a simple, tangible explanation for complex or random misfortunes.
c) Fulfill a government mandate to report all suspected witches.
d) Create an exciting diversion from their boring daily lives.
10. What is the significance of the story's setting in Sir Roger's otherwise idyllic countryside?
a) It proves that cities are more enlightened than rural areas.
b) It subverts the pastoral ideal by showing that ignorance and cruelty can exist anywhere.
c) It highlights Sir Roger's failure as a landowner to build adequate housing.
d) It establishes a connection between nature and the supernatural.
