As set forth by Digby and others, the use of the Powder of Sympathy is free from all taint of witchcraft or magic, but, in another form, it was wholly dependent upon incantations and other magical performances. This idea of sympathetic action was even carried so far as to lead to attempts to destroy or injure those whom the operator disliked. In some cases this was done by moulding an image in wax which, when formed under proper occult influences, was supposed to have the power of transferring to the victim any injuries inflicted on the image. Into such images pins and knives were thrust in the hope that the living original would suffer the same pains and mutilations that would be inflicted if the knives or pins were thrust into him, and sometimes the waxen form was held before the fire and allowed to melt away slowly in the hope that the prototype would also waste away, and ultimately die. Shakespeare alludes to this in the play of King John. In Act v., Scene 4, line 24, Melun says:
"A quantity of life
Which bleeds away, even as a form of wax,
Resolveth from his figure 'gainst the fire?"
And Hollinshed tells us that "it was alleged against Dame Eleanor Cobham and her confederates that they had devised an image of wax, representing the king, which, by their sorcerie, by little and little consumed, intending thereby, in conclusion, to waste and destroy the king's person."
In these cases, however, the operator always depended upon certain occult or demoniacal influences, or, in other words, upon the art of magic, and therefore examples of this kind do not come within the scope of the present volume. In the case of the Powder of Sympathy the results were supposed to be due entirely to natural causes.
FOOTNOTES:
[3] Touching the Cure of Wounds by the Powder of Sympathy. With Instructions how to make the said Powder. Rendered faithfully out of French into English by R. White, Gent. London, 1658.
[4] Canto III. Stanza 23.