Entertaining Satan


The context for the other wide-scale outbreak is much clearer. Salem, in the closing decades of the seventeenth century, was a town notorious for internal contention. An old guard of village farmers was arrayed against newly prosperous merchants and townsmen. For years, indeed decades, local governance was disrupted: town meetings broke up with important issues unresolved, ministers came and left (out of favor with one side or the other), lawsuits filled the court dockets. Thus when the first sparks of witchcraft were fanned, in a small group of troubled girls, they acted like tinder on a dried-out woodpile. Suspicion led immediately to new suspicion, and accusation to accusation—with results that every schoolchild knows. Soon the conflagration burst the boundaries of Salem itself; eventually it claimed victims throughout eastern Massachusetts. By the time cooler heads prevailed—especially that of the new governor, Sir William Phips—twenty witches had been executed and dozens more were languishing in local jails.

But the Salem trials—to repeat—were highly unusual in their sheer scope: witch-hunting gone wild. In the more typical case, events moved slowly, even carefully, within a limited and intensely personal framework. This dimension of the witchcraft story also deserves close attention.

October, 1688. A cart stops by the roadside in the south part of Boston. A tall man alights and hurries along a pathway toward a small house. A door opens to admit him and quickly closes again. The visitor is Rev. Cotton Mather, a young but already eminent clergyman of the town. The house is occupied by the family of a mason named John Goodwin.


Immediately upon entering, Mather becomes witness to an extraordinary scene. On the parlor floor in front of him two small human forms are thrashing about. A girl of thirteen (named Martha) and a boy of eleven (John, Jr.) are caught in the throes of agonizing fits. Their bodies contort into strange, distended shapes. Their eyes bulge. Their mouths snap open and shut. They shriek uncontrollably. From time to time they affect the postures of animals, and crawl about the room, barking like dogs or bellowing like frightened cows. Their father and several neighbors look on in horror, and try by turns to prevent serious damage to persons or property.

Mather waits for a moment’s lull; then he opens a Bible, kneels, and begins to pray. Immediately the children stop their ears and resume their shrieking. “ They say we must not listen,” cries the girl, while hurling herself toward the fireplace. Her father manages to block the way; briefly he catches her in an awkward embrace. But she reels off and falls heavily on her brother.

Soon it is time for supper. The children quiet temporarily, and come to the table with their elders. However, when food is offered them, their teeth are set as if to lock their mouths shut. Later there are new troubles. The children need assistance in preparing for bed, and they tear their nightclothes fearfully. At last they quiet and pass into a deep sleep.

Mather sits by the fireside and reviews the history of their affliction with the distraught parents. The family is a religious one, and until the preceding summer the children were unfailingly pious and well behaved. Martha’s fits had begun first, John’s soon thereafter; indeed, two still younger children in the family have also been affected from time to time. A physician had been summoned, but he could discover no “natural maladies” at work.

The parents recall an episode that had directly preceded the onset of Martha’s fits. The girl was sent to retrieve some family linen from a laundress who lived nearby. Several items had disappeared, and Martha complained—intimating theft. The laundress angrily denied the charges, and was joined in this by her own mother, an Irishwoman named Glover. Goodwife Glover was already a feared presence in the neighborhood; her late husband, on his deathbed, had accused her of practicing witchcraft. Now she poured out her retaliative anger on young Martha Goodwin. The girl has not been the same since.

Late in the evening, having listened with care to the entire story, Mather prepares to leave. John Goodwin explains that several neighbors have been urging the use of “tricks”—countermagic—to end his children’s difficulties. But Goodwin prefers a strategy based on orthodox Christian principles.


In this Cotton Mather is eager to cooperate. He returns to the Goodwin house each day for a week, and on one particular afternoon he is joined by his fellow clergymen from all parts of Boston. Eventually he invites Martha Goodwin into his own home for a period of intensive pastoral care. (Martha’s younger brother is taken, at the same time, into the home of the minister at Watertown.) Their afflictions continue, though with lessened severity.