MATHER. by Henry Wadsworth Longfellow

Editor's note

Mather begins by describing his physical disorientation in a way that feels otherworldly. He has genuinely lost his way in the woods, yet his thoughts quickly turn to witchcraft as a possible explanation. The phrase "land and atmosphere of Witches" suggests that he is already in a mindset where the supernatural is his primary and sole perspective.

Editor's note

He acknowledges that he was lost in thought—meditating—which is why he overlooked the path. However, he won't admit to that typical human distraction. The exclamatory "Lo!" feels almost theatrical, as if he’s putting on a show of his own confusion for an audience.

Editor's note

Mather turns to a recognized authority — Scribonius, a genuine 16th-century German physician known for his writings on witchcraft — to back up his experience. This reflects the historical Mather's approach: he frequently reinforced his supernatural beliefs with references, dressing up superstition in the guise of scholarship.

Editor's note

The story he shares is about a man who attempted to assist someone who was possessed, only to be attacked by evil spirits himself. Mather is making a comparison: he is also on a righteous mission, and he is experiencing punishment for it. This reasoning is circular—his suffering itself serves as proof that he must be doing something good.

Editor's note

This is the essence of Mather's self-serving reasoning. His crusade against witches becomes evidence that witches are, in fact, targeting him. No result — whether he succeeds or fails, whether it's easy or hard — could ever shake his conviction. Everything he encounters only reinforces it.

Editor's note

Mather expands his assertion from his own misfortune to a broader theological idea: the Devil interferes in all aspects of life. This broad claim highlights the extent of his worldview. There’s no room for neutrality, no such thing as coincidence, and no simple bad luck.

Editor's note

The shift from "I" to "we" is important—Mather is now preaching instead of just telling a story. He’s transforming his personal experience into a universal lesson for an implied audience. The everyday scenario of a journey makes the Devil seem almost bureaucratic, constantly raising objections.

Editor's note

The idea that Satan operates "by hindering or by furthering" is an intriguing point: it suggests that even positive results might come from the Devil. This renders the belief system entirely unfalsifiable. The physical imagery — thicket, struck in the face, entangled fetlocks — ties the abstract theology to a vivid, almost humorous bodily reality.

Editor's note

Longfellow paints a vivid scene: a man on horseback, branches hitting his face, and his horse's legs tangled in undergrowth. It's a typical woodland accident. The contrast between this everyday occurrence and Mather's grand interpretation highlights Longfellow's subtle irony.

Editor's note

Mather is brought down to the simplest and most straightforward task: getting off his horse and walking. The once-grand spiritual warrior is now just a man wandering in the dark, searching for a path. Longfellow allows the humor in the situation to shine through on its own.

Editor's note

Tituba comes back in, and Mather's language quickly shifts to one of horror. He refers to her as a "monstrous apparition" before even recognizing her. His fear and prejudice emerge simultaneously, transforming a woman in the dark into a supernatural menace without hesitation. The stage direction "Re-enter TITUBA" carries a quietly heartbreaking weight — she's simply a person making her way through the same woods.

Editor's note

The line cuts off mid-sentence, showcasing a brilliant use of dramatic timing. Mather can’t even complete his thought — he truly questions whether what he’s witnessing is human. The phrase "if you are a woman" instantly takes away Tituba’s humanity, and the dash at the end leaves that dehumanization lingering, unresolved and deeply troubling.