Cloven Country: The Devil and the English Landscape

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The most significant for me, is Hell Gill and Devil’s Bridge in the Dales, leading into Wensleydale - and the Devil's Bridge in Kirby Lonsdale.

Cloven Country: The Devil and the English Landscape Cloven Country: The Devil and the English Landscape

From a perusal of any detailed map of England, you would think we were a people satanically obsessed. Place names include the Devil’s Highway, the Devil’s Punchbowl, the Devil’s Thumb, the Devil’s Frying Pan… Even midnight is 'the Devil’s dancing hour' and the dragonfly is 'the Devil’s darning needle'... Fear not, says Jeremy Harte in this fascinating study, Britain is not as terrifying as these names make it appear." The Devil is a perfect character for a storyteller. And so they've come down to us: repeated, amended, borrowed, plausible only to the gullible; yet, entertaining always. They are like the Irishman's old hammer, which had been in the family for generations but with three new heads fitted to it and five different handles.There are some 'big moments' - the emergence of the Protestant revolution and the crushing of Catholic ways of seeing, the itineracy of the working class and traders, the rise of a travelling middle class eager for sensation, the emergence of folkorists as a class - but these do not change the picture. At Crawshawbooth near Burnley, there was a football match on a Sunday when an unexpectedly powerful player joined the game as replacement for an injured player. One shot at the ball and it disappeared into the sky in a flash of fire, along with the strange player, and that was the end of the game. As literacy advances so the Devil tale advances. Places get re-named for him to advance a story rather than to reflect local 'reality'. We have mentioned tourists creating the tales they wanted to hear simply by being present in the right place at the right time (and then reporting them as 'true').

Cloven Country: The Devil and the English Landscape, Harte

He makes a case that the mobility of these stories accompanies the beginning of the rise of tourism – people from further away would come to visit areas with certain landscape phenomena, and often the semi universal figure of the Devil seems to have served as a kind of flattening lingua franca. Local understanding of giant or faerie becomes smoothed out to Old Horny. This flattening also meant that various landscape phenomena might have similar story-variants applied to them – that the legends migrate one step at a time but, are borrowed or even stolen, with elements in the story that perhaps do not entirely fit their new locale. In the battle of good versus evil, personified by God and the Devil, I find the latter to be the more interesting character. God, languidly playing finger-bump with naked Adam, is intentionally aloof, letting Man decide his own destiny. Oh, he has his vengeful side but, frankly, it's been a while since we've had to build an ark. Many Devil place names are of surprisingly recent origin, the creation of entrepreneurial indigenes exploiting the narrative desires of midle class tourists and re-arranging existing non-devilish local stories to appeal to their audience's sense of the horrible or simply to entertain for a penny.A] fascinating study . . . In Cloven Country, Harte sets out to discover why the 'Devil' appears in so many of our place names, and so many of the accompanying tales and folklore. Along the way it becomes an invaluable guide to some of our more puzzling local oddities . . . It all makes for a highly evocative and original guide to our ever-fascinating, multilayered landscape, so full of shadowy mysteries and stories. ' These stories then are about the processes of a worldview meeting with the landscape. They are about the strangeness in the world, not necessarily as explanatory narratives, but the evocation of the pull which the so-called supernatural has. Cloven Country is an extensive and well-rounded exploration of the image of the Devil as reflected in the English landscape and folklore record, penned in Harte's inimitable clever and witty style. Although rigorously academic, you always feel like you have sat down for a pint with Jeremy, probably in a pub named after one of the Devil's exploits, whilst being regaled with tales. Pull a chair up to the fire, get yourself a drink and a copy of Cloven Country . . . You will not be disappointed. '

Cloven Country: The Devil and the English Landscape|Hardcover Cloven Country: The Devil and the English Landscape|Hardcover

This is my favourite book of the year so far. It is immaculately researched, superbly written and – like all Jeremy Harte’s work – genuinely breaks new ground in folklore studies. Only somebody with his breadth of knowledge, not only of the lore but of related fields of history, myth and literature, could have done as well." Unlikely was he to have callouses upon his hands, though he could raise up walls and dykes with little effort. In this sense, he resembles the learned and landed classes who were supposedly the “betters” of the ordinary people. Just as now, the rich and powerful had privilege – literally “private law” – which others did not: a different set of rules by which they altered the world to their whim, and the poor labourer or widowed woman would have no choice but to be swept along. By 1700, Harte argues, landscape stories were being reworked to include the Devil to “replace older heroes” as “part of a structured forgetting” (p. 52f.). Cloven Country is an extensive and well-rounded exploration of the image of the Devil as reflected in the English landscape and folklore record, penned in Harte's inimitable clever and witty style. Although rigorously academic, you always feel like you have sat down for a pint with Jeremy, probably in a pub named after one of the Devil's exploits, whilst being regaled with tales. Pull a chair up to the fire, get yourself a drink and a copy of Cloven Country . . . You will not be disappointed." Before beginning this I had considered any Devil-related features on the landscapes that I know well.At one of its finest moments, and towards the end of the book he discusses how historically it was frowned upon to do pretty much anything on a Sunday, and how in various parts of the country stories of the Devil taking punitive measures against those intent of enjoying themselves, were common. Harte neatly brings in the suggestion that this may mirror actual class-dynamics – the fairly obvious idea that the stories which told are affected by such dynamics brings us to some interesting conclusions: And that is the point of the book - to demonstrate just how fluid folklore can be and how it gets shaped by culture and society, appropriates the past and literary influences (much as country dance is often 'debased' aristocratic dance) and continues to evolve.