Sabine Baring-Gould

Sabine Baring-Gould

Summary

Portrait of Sabine Baring-Gould Sabine Baring-Gould Curious Myths of the Middle Ages… (1866)

But I refer rather to the second, which represents the Jew, after the lapse of ages, bowed beneath the burden of the curse, worn with unrelieved toil, wearied with ceaseless travelling, trudging onward at the last lights of evening, when a rayless night of unabating rain is creeping on, along a sloppy path between dripping bushes; and suddenly he comes over against a way-side crucifix, on which the white glare of departing daylight falls, to throw it into ghastly relief against the pitch-black rain-clouds. For a moment we see the working of the miserable shoemaker’s mind.
Source: Wikisource

Portrait of Sabine Baring-Gould Sabine Baring-Gould Curious Myths of the Middle Ages… (1866)

Perhaps, of all the myths which originated in the Middle Ages, none is more striking than that we have been considering; indeed, there is something so calculated to arrest the attention and to excite the imagination in the outline of the story, that it is remarkable that we should find an interval of three centuries elapse between its first introduction into Europe by Matthew Paris and Philip Mouskes, and its general acceptance in the sixteenth century. As a myth, its roots lie in that great mystery of human life which is an enigma never solved, and ever originating speculation.
Source: Wikisource

Portrait of Sabine Baring-Gould Sabine Baring-Gould Curious Myths of the Middle Ages… (1866)

The historical evidence on which the tale rests is, however, too slender for us to admit for it more than the barest claim to be more than myth. The names and the circumstances connected with the Jew and his doom vary in every account, and the only point upon which all coincide is, that such an individual exists in an undying condition, wandering over the face of the earth, seeking rest and finding none.
Source: Wikisource

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