The Black Death and The Dancing Mania - J. F. C. Hecker (best new books to read TXT) 📗

We have already mentioned what perils the priests in the Netherlands incurred from this belief. They now, indeed, endeavoured to hasten their reconciliation with the irritated, and, at that time, very degenerate people, by exorcisms, which, with some, procured them greater respect than ever, because they thus visibly restored thousands of those who were affected. In general, however, there prevailed a want of confidence in their efficacy, and then the sacred rites had as little power in arresting the progress of this deeply-rooted malady as the prayers and holy services subsequently had at the altars of the greatly-revered martyr St. Vitus. We may therefore ascribe it to accident merely, and to a certain aversion to this demoniacal disease, which seemed to lie beyond the reach of human skill, that we meet with but few and imperfect notices of the St. Vitus’s dance in the second half of the fifteenth century. The highly-coloured descriptions of the sixteenth century contradict the notion that this mental plague had in any degree diminished in its severity, and not a single fact is to be found which supports the opinion that any one of the essential symptoms of the disease, not even excepting the tympany, had disappeared, or that the disorder itself had become milder in its attacks. The physicians never, as it seems, throughout the whole of the fifteenth century, undertook the treatment of the Dancing Mania, which, according to the prevailing notions, appertained exclusively to the servants of the Church. Against demoniacal disorders they had no remedies, and though some at first did promulgate the opinion that the malady had its origin in natural circumstances, such as a hot temperament, and other causes named in the phraseology of the schools, yet these opinions were the less examined as it did not appear worth while to divide with a jealous priesthood the care of a host of fanatical vagabonds and beggars.

 

SECT. 5—PHYSICIANS

 

It was not until the beginning of the sixteenth century that the St. Vitus’s dance was made the subject of medical research, and stripped of its unhallowed character as a work of demons. This was effected by Paracelsus, that mighty but, as yet, scarcely comprehended reformer of medicine, whose aim it was to withdraw diseases from the pale of miraculous interpositions and saintly influences, and explain their causes upon principles deduced from his knowledge of the human frame. “We will not, however, admit that the saints have power to inflict diseases, and that these ought to be named after them, although many there are who, in their theology, lay great stress on this supposition, ascribing them rather to God than to nature, which is but idle talk. We dislike such nonsensical gossip as is not supported by symptoms, but only by faith—a thing which is not human, whereon the gods themselves set no value.”

 

Such were the words which Paracelsus addressed to his contemporaries, who were, as yet, incapable of appreciating doctrines of this sort; for the belief in enchantment still remained everywhere unshaken, and faith in the world of spirits still held men’s minds in so close a bondage that thousands were, according to their own conviction, given up as a prey to the devil; while at the command of religion, as well as of law, countless piles were lighted, by the flames of which human society was to be purified.

 

Paracelsus divides the St. Vitus’s dance into three kinds. First, that which arises from imagination (Vitista, Chorea imaginativa, aestimativa), by which the original Dancing Plague is to be understood. Secondly, that which arises from sensual desires, depending on the will (Chorea lasciva). Thirdly, that which arises from corporeal causes (Chorea naturalis, coacta), which, according to a strange notion of his own, he explained by maintaining that in certain vessels which are susceptible of an internal pruriency, and thence produce laughter, the blood is set in commotion in consequence of an alteration in the vital spirits, whereby involuntary fits of intoxicating joy and a propensity to dance are occasioned. To this notion he was, no doubt, led from having observed a milder form of St. Vitus’s dance, not uncommon in his time, which was accompanied by involuntary laughter; and which bore a resemblance to the hysterical laughter of the moderns, except that it was characterised by more pleasurable sensations and by an extravagant propensity to dance. There was no howling, screaming, and jumping, as in the severer form; neither was the disposition to dance by any means insuperable.

Patients thus affected, although they had not a complete control over their understandings, yet were sufficiently self-possessed during the attack to obey the directions which they received.

There were even some among them who did not dance at all, but only felt an involuntary impulse to allay the internal sense of disquietude, which is the usual forerunner of an attack of this kind, by laughter and quick walking carried to the extent of producing fatigue. This disorder, so different from the original type, evidently approximates to the modern chorea; or, rather, is in perfect accordance with it, even to the less essential symptom of laughter. A mitigation in the form of the Dancing Mania had thus clearly taken place at the commencement of the sixteenth century.

 

On the communication of the St. Vitus’s dance by sympathy, Paracelsus, in his peculiar language, expresses himself with great spirit, and shows a profound knowledge of the nature of sensual impressions, which find their way to the heart—the seat of joys and emotions—which overpower the opposition of reason; and whilst “all other qualities and natures” are subdued, incessantly impel the patient, in consequence of his original compliance, and his all-conquering imagination, to imitate what he has seen. On his treatment of the disease we cannot bestow any great praise, but must be content with the remark that it was in conformity with the notions of the age in which he lived. For the first kind, which often originated in passionate excitement, he had a mental remedy, the efficacy of which is not to be despised, if we estimate its value in connection with the prevalent opinions of those times.

The patient was to make an image of himself in wax or resin, and by an effort of thought to concentrate all his blasphemies and sins in it. “Without the intervention of any other persons, to set his whole mind and thoughts concerning these oaths in the image;” and when he had succeeded in this, he was to burn the image, so that not a particle of it should remain. In all this there was no mention made of St. Vitus, or any of the other mediatory saints, which is accounted for by the circumstance that at this time an open rebellion against the Romish Church had begun, and the worship of saints was by many rejected as idolatrous. For the second kind of St. Vitus’s dance, arising from sensual irritation, with which women were far more frequently affected than men, Paracelsus recommended harsh treatment and strict fasting. He directed that the patients should be deprived of their liberty; placed in solitary confinement, and made to sit in an uncomfortable place, until their misery brought them to their senses and to a feeling of penitence. He then permitted them gradually to return to their accustomed habits. Severe corporal chastisement was not omitted; but, on the other hand, angry resistance on the part of the patient was to be sedulously avoided, on the ground that it might increase his malady, or even destroy him: moreover, where it seemed proper, Paracelsus allayed the excitement of the nerves by immersion in cold water. On the treatment of the third kind we shall not here enlarge. It was to be effected by all sorts of wonderful remedies, composed of the quintessences; and it would require, to render it intelligible, a more extended exposition of peculiar principles than suits our present purpose.

 

SECT. 6—DECLINE AND TERMINATION OF THE DANCING PLAGUE

 

About this time the St. Vitus’s dance began to decline, so that milder forms of it appeared more frequently, while the severer cases became more rare; and even in these, some of the important symptoms gradually disappeared. Paracelsus makes no mention of the tympanites as taking place after the attacks, although it may occasionally have occurred; and Schenck von Graffenberg, a celebrated physician of the latter half of the sixteenth century, speaks of this disease as having been frequent only in the time of his forefathers; his descriptions, however, are applicable to the whole of that century, and to the close of the fifteenth. The St.

Vitus’s dance attacked people of all stations, especially those who led a sedentary life, such as shoemakers and tailors; but even the most robust peasants abandoned their labours in the fields, as if they were possessed by evil spirits; and thus those affected were seen assembling indiscriminately, from time to time, at certain appointed places, and, unless prevented by the lookers-on, continuing to dance without intermission, until their very last breath was expended. Their fury and extravagance of demeanour so completely deprived them of their senses, that many of them dashed their brains out against the walls and corners of buildings, or rushed headlong into rapid rivers, where they found a watery grave. Roaring and foaming as they were, the bystanders could only succeed in restraining them by placing benches and chairs in their way, so that, by the high leaps they were thus tempted to take, their strength might be exhausted. As soon as this was the case, they fell as it were lifeless to the ground, and, by very slow degrees, again recovered their strength. Many there were who, even with all this exertion, had not expended the violence of the tempest which raged within them, but awoke with newly-revived powers, and again and again mixed with the crowd of dancers, until at length the violent excitement of their disordered nerves was allayed by the great involuntary exertion of their limbs; and the mental disorder was calmed by the extreme exhaustion of the body.

Thus the attacks themselves were in these cases, as in their nature they are in all nervous complaints, necessary crises of an inward morbid condition which was transferred from the sensorium to the nerves of motion, and, at an earlier period, to the abdominal plexus, where a deep-seated derangement of the system was perceptible from the secretion of flatus in the intestines.

 

The cure effected by these stormy attacks was in many cases so perfect, that some patients returned to the factory or the plough as if nothing had happened. Others, on the contrary, paid the penalty of their folly by so total a loss of power, that they could not regain their former health, even by the employment of the most strengthening remedies. Medical men were astonished to observe that women in an advanced state of pregnancy were capable of going through an attack of the disease without the slightest injury to their offspring, which they protected merely by a bandage passed round the waist. Cases of this kind were not infrequent so late as Schenck’s time. That patients should be violently affected by music, and their paroxysms brought on and increased by it, is natural with such nervous disorders, where deeper impressions are made through the ear, which is the most intellectual of all the organs, than through any of the other senses. On this account the magistrates hired musicians for the purpose of carrying the St. Vitus’s dancers so much the quicker through the attacks, and directed that athletic men should be sent among them in order to complete the exhaustion, which had been often observed to produce a good effect. At the same time there was a prohibition against wearing red garments, because, at the sight of this colour, those affected became so furious that they flew at the persons who wore it, and were so bent upon