Page:Devil stories - an anthology.djvu/319

 Heisterbach of the thirteenth century, "is usually so thin as to cast no shadow" (Dialogus Miraculorum, iii). This characteristic is a heritage of the ancient hunger-demon, who, himself a shadow, casts no shadow. In the course of the centuries, however, the devil has gained flesh. His faded suit of black cloth recalls the mediaeval devil who appeared "in his fethers all ragged and rent."

It is not altogether improbable that the ecclesiastical appearance of the devil in this story was not wholly unintentional, as the author believes. While Satan cannot be said to be "one of those who take to the ministry mostly," he often likes to slip into priestly robes. In the "Temptation of Jesus" by Lucas van Leyden the devil is habited as a monk with a pointed cowl.

In the comparison of a soul with a shadow there is a reminiscence of Adalbert von Chamisso, whose Peter Schlendhl (1814) sells his shadow to the devil. In his story The Fisherman and His Soul Oscar Wilde considers the shadow of the body as the body of the soul.

That the devils in hell eat the damned consigned there for punishment is also in accord with mediaeval tradition. This idea probably is of Oriental origin. The seven Assyrian evil spirits have a predilection for human flesh and blood. Ghouls and vampires belong to this class of demons.

The devil's pitchfork is not the forked sceptre of Pluto supplemented by another tine, as is commonly assumed. It is the ancient sign of fertility, which is still used as a fertility charm by the Hindus in India and the Zuñi and Aztec Indians of North America and Mexico. A related symbol is the trident of Poseidon or Neptune. This symbol was recently carried in a children's May Day parade through Central Park in New York.

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