The Evil Eye, Thanatology, and Other Essays

by Roswell Park

So far I have said very little about the positions of the hand and certain gestures by which it is intended to ward off the evil eye. The Mohammedans, like the Neapolitans, are profound believers in the efficacy of manual signs; thus outside of many a door in Tangier I have seen the imprint of a hand made by placing the outstretched hand upon some sticky black or colored material, which was then transferred as by a type or die to the doorway of the dwelling, where in the likeness of the outstretched manus it serves to guard the dwellers within. This is to me one of the most curious things to be observed in Mohammedan countries. A relic of the same belief I have seen also over the great gate of the Alhambra, in the Tower of Justice, where, in spite of the very strict Moslem custom and belief against representation of any living object, over the keystone of the outer Moorish arch is carved an outstretched upright hand, a powerful protection against evil. It is this position of the hand, by the way, which has been observed in all countries in the administration of the judicial oath. Moreover, the hand in this position is the modern heraldic sign of baronetcy.

The hand in the customary position of benediction is sometimes open and extended, while at other times only the first and second fingers are straightened. The power which the extended hand may exert is well illustrated in the biblical account (Exodus 17: 11) "And it came to pass when Moses held up his hand that Israel prevailed, and when he let down his hand Amalek prevailed." And so it happened that when Moses wearied of the constrained position his hand was supported by Aaron and by Hur. This is only one of numerous illustrations in the holy writings showing the talismanic influence of the human hand. There are comparatively few people who realize, to-day, that the conventional attitude of prayer as of benediction, with hands held up, is the old charm as against the evil eye. In one of the great marble columns in the Mosque of St. Sophia in Constantinople there is a remarkable natural freak by which there seems to appear upon the dark marble the white figure of an outspread hand. This is held in the highest reverence by the superstitious populace, who all approach it to pray for protection from the evil eye. The open hand has also been stamped upon many a coin both in ancient and modern times, and the general prevalence of the hand as a form of doorknocker can be seen alike in the ruins of Pompeii and the modern dwelling.

The hand clenched in various forms has been used in more ways than as a mere signal or sign of defiance. In Italy the mano-fica implies contempt or insult rather than defiance. Among all the Latin races this peculiar gesture of the thumb between the first and second fingers has a significant name and a significant meaning. It is connected everywhere with the fig, and expresses in the most discourteous way that which is implied in our English phrase "don't care a fig." It is in common use as an amulet to be worn from the neck or about the body, and conveys the same meaning as that which the Neapolitans frequently express when they say "May the evil eye do you no harm." Another position of the hand, namely, that with the index and little fingers extended, while the middle and ring fingers are flexed and clasped by the thumb, gives also the rude imitation of the head of a horned animal, and is frequently spoken of as the mano cornuta. A Neapolitan's right hand is frequently, in some instances almost constantly, kept in that position pointing downwards, just as hand charms are made to hang downwards, save when it is desired to use the sign against some particular individual, when the hand is pointed toward him, even at his very eyes if he appear much to be dreaded. When, however, the hand in this position is pointed toward one's chin it conveys a most insulting meaning and hints at conjugal infidelity. As the Neapolitan cab-men pass each other the common sign is to wave the hand in gesture and in this position. This is true also of many other places.

The sign of the cross is very often made with the hand, usually with the first two fingers extended, and seems to mean a benediction of double potency, because both the hand and the cross itself are utilized in the gesture. I have elsewhere discussed the signification of the sign of the cross, and do not care to take it up again just now. It is certainly of phallic origin and as certainly antedates the Christian era by many hundred years. It is, in other words, a pagan symbol to which a newer significance has been given. Talismanic power has usually been ascribed to it, and in some form, either as the Greek Tau or the Crux Ansata, has been most frequently employed. In one or the other of these forms it was the mark set upon the houses of the Israelites to preserve them from the destroying angel. In the roll of the Roman soldiery, after a battle, it was placed after the names of those still alive; and we read in Ezekiel 9:4 of the mark which was to be set upon "the foreheads of the men that cry," which was certainly the Greek Tau, because the Vulgate plainly states this. Upon some of the old Anglo-Saxon coins there was placed a cross on each side, usually the handled cross, and upon various seals it has been in use until a comparatively recent period. It may be seen, also, in many illustrations from the catacombs, for instance, dating back to a time before the cross was a generally received Christian emblem, showing both the use of the cross and the hand in the positions to which I have already alluded. The sign of the cross is made by many a schoolboy in his play before he shoots his marble, and I have often seen it made upon the wooden ball before a man has bowled with it. Many a peasant scratches it upon his field after sowing, and many a housewife has scratched it upon her dough.

The hand with the first two fingers and thumb extended in the ordinary position of sacerdotal benediction was certainly a charm against evil long before the Christian era. This is not used so much by the common people, but has been appropriated rather by the priests. By a sort of general consent this has been especially the attitude permitted to the Second Person of the Trinity, although there are numerous instances in mediaeval painting where the hand of the First Person has been shown in this position. Indeed, the expression "dextera Dei," or "right hand of God," is conventionalized.

In many amulets, images and pictures, other charms are combined with that supposed to be exercised by the human hand. An exceedingly common one was the Egyptian scarab. The Egyptians believed that there were no females of this kind of insect, hence it was considered a symbol of virility and manly force, and in connection with the mano pantea just alluded to gave the amulet power to guard both the living and dead. In fact it was almost as common upon these emblems as the human eye itself.

Again, the serpent was a frequent emblem in this same connection. As I have elsewhere written upon the subject of serpent-worship I need scarcely more than allude to it here, save to say that to the serpent were ascribed numerous virtues and powers, and that its use upon any charm was supposed to reinforce the virtues already possessed by it.

Among the most curious of all the Italian charms against the Evil Eye, and yet one which has been singularly neglected by most writers, is the sprig of rue or, as the Neapolitans call it, the cimaruta. In its simplest form it was undoubtedly of Etruscan or Phoenician origin. Later, however, it became curiously involved with other symbols and quite complicated. It is worn especially upon the breasts of Neapolitan babies, and is considered their especial protection against the much-dreaded jettatura. In ancient times no plant had so many virtues ascribed to it as had the rue. Pliny, indeed, cites it as being a remedy for 84 different diseases. It used to be hung about the neck in primeval times to serve as an amulet against fascination. In most of these amulet forms it consists of three branches, which were supposed to be typical of Diana Triformis, who used often to be represented in three positions and as if having three pairs of arms.

Diana, by the way, was the especial protectress of women in child-birth. Silver was her own metal and the moon her special emblem. Therefore, the expression, "the silver moon" is not so meaningless as it would appear. This will in some measure account for the fact that corals, to which large virtues were ascribed, used always to be mounted in silver, and that the crescent, or new moon, is also almost invariably made of this same metal. Of the many charms which used to be combined in the cimaruta there is scarcely one which may not be more or less considered as connected with Diana, the Goddess of Infants.