Chapter 1

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"I know I have herein made myself subject unto a world of judges, and am likest to receive most controulment of such as are least able to sentence me. Well I wote that the works of no writers have appeared to the world in a more curious age than this; and that, therefore, the more circumspection and wariness is required in the publishing of anything that must endure so many sharp sights and censures. The consideration whereof, as it hath made me all the more needy not to displease any, to hath it given not the less hope of pleasing all."

VERSTEGAN, _Rest. dec. Ant._

TRADITIONS OF LANCASHIRE

by

JOHN ROBY, M.R.S.L.

Illustrated by Engravings on Steel and Wood

In Two Volumes

VOL. I.

Fifth Edition.

London: George Routledge and Sons, Manchester: L.C. Gent.

1872

CONTENTS OF VOLUME I.

ADVERTISEMENT TO FIFTH EDITION

PUBLISHERS' PREFACE TO FOURTH EDITION

MEMOIR OF THE AUTHOR

PREFACE TO FIRST SERIES

PREFACE TO SECOND SERIES

INTRODUCTION TO SECOND SERIES

TRADITIONS

SIR TARQUIN

THE GOBLIN BUILDERS

MAB'S CROSS

THE PRIOR OF BURSCOUGH

THE EAGLE AND CHILD

THE BLACK KNIGHT OF ASHTON

FAIR ELLEN OF RADCLIFFE

THE ABBOT OF WHALLEY

SIR EDWARD STANLEY

GEORGE MARSH, THE MARTYR

DR DEE, THE ASTROLOGER

THE SEER

THE EARL OF TYRONE

HOGHTON TOWER

THE LANCASHIRE WITCHES

SIEGE OF LATHOM

RAVEN CASTLE

THE PHANTOM VOICE

THE BAR-GAIST

THE HAUNTED MANOR-HOUSE

CLITHEROE CASTLE

THE GREY MAN OF THE WOOD

LIST OF ILLUSTRATIONS.

MAB'S CROSS, WIGAN

BURSCOUGH ABBEY

RADCLIFFE TOWER

WHALLEY ABBEY

HORNBY CASTLE

COLLEGIATE CHURCH, MANCHESTER

TYRONE'S BED, NEAR ROCHDALE

HOGHTON TOWER

EAGLE CRAG, VALE OF TODMORDEN

LATHOM HOUSE

SOUTH PORT

INCE-HALL, NEAR WIGAN

CLITHEROE CASTLE

ADVERTISEMENT TO THE FIFTH EDITION.

The Fourth Edition of the "TRADITIONS OF LANCASHIRE" was published five years ago, and the whole of the impression was ordered from the publishers before it had left the printers' hands. Owing to the difficulty in obtaining copies, it has been suggested that a re-issue, in a cheap form, is a desideratum, and the present volumes are the result. This is the only Complete Edition (except the Fourth, from which it is an unabridged reprint), of Roby's Traditions--several Legendary Tales being incorporated which were not included in any of the earlier copies of the work.

_November_ 1871.

THE PUBLISHERS' PREFACE TO FOURTH EDITION.

Roby's "TRADITIONS OF LANCASHIRE" having long been out of print--stray copies commanding high prices--it has been determined to republish the whole in a more compact and less costly form. This, the fourth and the _only complete edition_, includes the _First_ Series of twenty tales, published in two volumes (1829, demy 8vo, £2, 2s.; royal 8vo, with proofs and etchings, £4, 4s.); the _Second_ Series, also of twenty tales, in two volumes (1831, 8vo, £2, 2s., &c.); and three additional stories from his _Legendary and Poetical Remains_, first published after his death (1854, post 8vo, 10s. 6d.)[1] In the two volumes now presented the reader will possess not only the whole of the contents of both series, in four volumes, at one-fourth of the price of the original publication, but also three additional stories from the posthumous volume, with a memoir, a portrait, &c.

From deference to a strongly-expressed feeling that the work should be printed without any abridgment, omission, or alteration, and the text preserved in its full integrity, it has been decided to reprint it entire; and consequently various inaccuracies in the original editions have been left untouched. Two or three of the most important may be corrected here.

In the tale of "The Dead Man's Hand," Mr Roby seems to have been led by false information into some errors reflecting on the character and memory of a devout and devoted Roman Catholic priest, known as Father Arrowsmith. Mr Roby states that he was executed at Lancaster "in the reign of William III.;" that "when about to suffer he desired his right hand might be cut off, assuring the bystanders that it would have power to work miraculous cures on those who had faith to believe in its efficacy," and, denying that Father Arrowsmith suffered on account of religion, Mr Roby adds that "having been found guilty of a misdemeanour, in all probability this story of his martyrdom and miraculous attestation to the truth of the cause for which he suffered, was contrived for the purpose of preventing any scandal that might have come upon the Church through the delinquency of an unworthy member."

What, then, are the facts, as far as they have been investigated? The Father Edmund Arrowsmith who suffered death at Lancaster was born at Haydock in Lancashire[2] in 1585, and he suffered death in August 1628 (4th Charles I.), sixty years before William III. ascended the English throne. The mode of execution was not that of capital punishment for the offence committed, but rather that imposed by the laws for treason and for exercising the functions of a Roman Catholic priest. He was hanged, drawn, and quartered, and his head and quarters were fixed upon poles on Lancaster Castle. It was in this dismemberment that the hand became separated, and it was secretly carried away by some sorrowing member of his communion, and its supposed curative power was afterwards discovered and made known.[3] Mr Roby cites no authority for this contradiction of the original tradition. The judge who presided at the trial was Sir Henry Yelverton of the Common Pleas, who died on the 24th January 1629.

In the Tradition of "The Dule upo' Dun," Mr Roby states that a public-house having that sign stood at the entrance of a small village on the right of the highway to Gisburn, and barely three miles from Clitheroe. When Mr Roby wrote the public-house had been long pulled down; it had ceased to be an inn at a period beyond living memory; though the ancient house, converted into two mean, thatched cottages, stood until about forty years ago. But the site of the house is in Clitheroe itself, little more than half a mile from the centre of the town, and on the road, not to Gisburn, but to Waddington.[4]

It only remains to add that the illustrations to the present edition comprise not only all the beautiful plates (engraved by Edward Finden, from drawings by George Pickering) of the original edition, which have been much admired as picturesque works of art, but also all the wood-engravings (by Williams, after designs by Frank Howard) which have appeared in any former edition, and which constituted the sole embellishments of the three-volume editions. To these is now first added the fine portrait of Mr Roby from the posthumous volume.

FOOTNOTES:

[1] The First Series includes all the Traditions beginning with "Sir Tarquin" and ending with "The Haunted Manor-House;" the Second Series comprises all the Tales from "Clitheroe Castle" to "Rivington Pike," both included; and the three Tales now first incorporated are--"Mother Red-Cap, or the Rosicrucians;" "The Death Painter, or the Skeleton's Bride;" and "The Crystal Goblet."

[2] His mother was a daughter of the old Lancashire family of Gerard of Bryn.

[3] These dates and facts will be found in the _Missionary Priests_ of Bishop Challoner, who wrote about 1740 (2 vols. 8vo., Manchester, 1741-2), naming as his authority a manuscript history of the trial, and a printed account of it published in 1629. His statements are confirmed by independent testimony. See Henry More's _Historia-Provinciæ Anglicaæ Societatis Jesu_, book x. (sm. fol. St Omer's, 1660). Also Tanner's _Societas Jesu_, &c., p. 99 (sm. fol. Prague, 1675). Neither Challoner nor the MS. account, nor either of the authors just quoted, says one word of Father Arrowsmith's alleged speech about the hand.

[4] See Mr Wm. Dobson's _Rambles by the Ribble_, 1st Series, p. 137.

MEMOIR OF THE AUTHOR.[5]

The late John Roby was born at Wigan on the 5th January 1793. From his father, Nehemiah Roby, who was for many years Master of the Grammar-School at Haigh, near Wigan, he inherited a good constitution and unbended principles of honour and integrity. From the family of his mother, Mary Aspall, he derived the quick, impressible temperament of genius, and the love of humour which so conspicuously marks the Lancashire character. He was the youngest child. His thirst for knowledge was early and strongly manifested. Being once told in childhood not to be so inquisitive, his appeal ever after was, "_Inquisitive_ wants to know." As he grew up into boyhood, surrounded by objects to which tradition had assigned her marvellous stories, they sank silently but indelibly into his mind. In his immediate vicinity were Haigh Hall and Mab's Cross, the scenes of Lady Mabel's sufferings and penance--the subject of one of his earliest tales. Almost within sight of the windows lay the fine range of hills of which Rivington Pike is a spur. In after-life he recalled with pleasure the many sports in that district which were the haunts of his early days, and the scenes of the legends he afterwards embodied. While yet a child he regularly took the organ in a chapel at Wigan during the Sunday service. He also early excelled in drawing, and after he had commenced the avocations of a banker the use of the pencil was a favourite recreation. His first prose composition, at the age of fifteen years, took a prize in a periodical for the best essay on a prescribed subject, by young persons under a specified age. Thus encouraged, poetry, essay, tale, were all tried, and with success. In his eighteenth or nineteenth year he received a silver snuff-box, inscribed, "The gift of the Philosophic Society, Wigan, to their esteemed lecturer and worthy member."

Mr Roby first appeared before the public as a poet; publishing in 1815, "Sir Bertram, a poem in six cantos." Another poem quickly followed, entitled "Lorenzo, a tale of Redemption." In 1816, he married Ann, the youngest daughter of James and Dorothy Bealey, of Derrikens, near Blackburn, by whom he had nine children, three of whom died in their infancy. His next publication was "The Duke of Mantua," a tragedy, which appeared in 1823, passed through three or four editions in a short time, and after being long out of print, was included in the posthumous volume of _Legendary Remains_. In the summer of that year he made an excursion in Scotland, visiting "the bonnie braes o' Yarrow" in company with James Hogg, the Ettrick Shepherd. The literary leisure of the next six years was occupied in collecting materials for the _Traditions of Lancashire_, and in weaving these into tales of romantic interest. In this task he received the most courteous assistance from several representatives of noble houses connected with the traditions of the county; particularly from the late Earl and Countess of Crawford and Balcarres, and also from the late Earl of Derby.

The _first_ series of _The Traditions of Lancashire_ appeared in 1829, in two volumes (including twenty tales), illustrated by plates. The reception of the work equalled Mr Roby's most sanguine expectations; and a second edition was called for within twelve months. The late Sir Francis Palgrave, in a letter to Mr Roby, dated 26th October 1829, thus estimates the work:--

"As compositions, the extreme beauty of your style, and the skill which you have shown in working up the rude materials, must entitle them to the highest rank in the class of work to which they belong.... You have made such a valuable addition, not only to English literature, but to English topography, by your collection--for these popular traditions form, or ought to form, an important feature in topographical history--that it is to be hoped you will not stop with the present volumes."

The _second_ series of the "Traditions," consisting also of two volumes (including twenty tales), uniform with the first, was published in 1831, and met with similar success. Both series were reviewed in the most cordial manner by the leading periodicals of the day; while they were more than once quoted by Sir Walter Scott, who characterised the whole as an elegant work. In the production of these tales, Mr Roby's practice was to make himself master of the historical groundwork of the story, and as far as possible of the manners and customs of the period, and then to commence composition, with Fosbroke's _Encyclopedia of Antiquities_ at hand, for accuracy of costume, &c. He always gave the credit of his style, which the _Westminster Review_ termed "a very model of good Saxon," to his native county, the force and energy of whose dialect arises mainly from the prevalence of the Teutonic element. "The thought digs out the word," was his favourite saying, when the exact expression he wanted did not at once occur. In these "Traditions" his great creative power is conspicuous; about two hundred different characters are introduced, no one of which reminds the reader of another, while there is abundant diversity of both heroic and comic incident and adventure. A gentleman, after reading the "Traditions," remarked that for invention he scarcely knew Mr Roby's equal. All these characters, it should be stated, are creations: not one is an idealised portrait. The short vivid descriptions of scenery scattered throughout are admirable. Each tale is, in fact, a cabinet picture, combining history and romance with landscape. Mr Roby excelled in depicting the supernatural; and one German reviewer declared his story of Rivington Pike to be "the only authentic tale of demoniacal possession the English have."

In 1832, Mr Roby visited the English lakes, and recorded his impressions in lively sketches both with pen and pencil. In the spring of 1837, he made a rapid tour on the Continent, the notes and illustrative sketches of which were published in two volumes, under the title of _Seven Weeks in Belgium, Switzerland, Lombardy, Piedmont, Savoy, &c._ In 1840, Mr Roby again visited the Continent by a different route, making notes and sketches of what he saw. At the close of the year, he was engaged in preparing a new edition of the "Traditions," in a less expensive form. It was published in three volumes, as the first of a series of Popular Traditions of England; his intention being to follow up those of Lancashire with similar legends of Yorkshire, for which he wrote a few tales, which appeared in Blackwood's and Eraser's Magazines.

The principal literary occupation of the next four years appears to have been the preparation and delivery of lectures on various subjects in connection with literary and mechanics' institutions. In 1844, his health gave way, and for years he suffered severely. As a last resource he tried the water-cure at Malvern in the spring of 1847, and with complete success. In the summer of 1849, he again married--the lady who survived him, and to whose "sketch of his life" we are largely indebted in this brief memoir. In the two short years following this marriage--the two last of his life--he was busily engaged in writing and delivering lectures, visiting places which form the scenes of some of his latest legends, and in the composition of a series of tales intended to illustrate the influence of Christianity in successive periods, a century apart. Deferring that for the fourth century, he wrote six, bringing the series down to the close of the seventh century; when he determined on visiting Scotland. With his wife and daughter he embarked at Liverpool on board the steamer _Orion_ for Glasgow, which ill-fated vessel struck on some rocks about one o'clock in the morning of the 18th June 1850, and went down. Mrs and Miss Roby were rescued after having been some time in the water, but of the husband and father only the corpse was recovered, and his remains were laid in his family grave in the burial-ground of the Independent Chapel, Rochdale, on Saturday, the 22d of that month.

Mr Roby was not more remarkable for his numerous and varied talents than for his warm and affectionate heart, rich imagination, great love of humour, and deep and earnest piety. He was a facile versifier, an elegant prose writer, an able botanist and physiologist. Possessing a fine ear, rich voice, and great musical taste, he not only took his vocal share in part-song, but wrote several melodies, which have been published. In one species of rapid mental calculation, or rather combination of figures--giving in an instant the sum of a double column of twenty figures in each row, or a square of six figures--he far excelled Bidder, the calculating boy. He was a skilful draughtsman, a clever mimic and ventriloquist, an excellent _raconteur_, an accomplished conversationist, ever fascinating in the select social circle, and always "tender and wise" in that of home. He was a man of genuine benevolence, a cordial friend, an affectionate husband and father, and a humble and devout Christian. His family crest was a garb or wheat-sheaf, with the motto, "I am ready;" and in his case--though his death was sudden and unexpected--illness and bereavement, mental and physical suffering--in short, the chastenings and discipline of life, had done their work. His "sheaf" was "ready for the garner."

_October_ 1866.

FOOTNOTES:

[5] This Memoir has been almost wholly derived from the "Sketch of the Literary Life and Character of John Roby," written by his widow, and occupying 117 pages of the posthumous volume of his _Legendary and Poetical Remains_.

PREFACE TO THE FIRST SERIES.

A preface is rarely needed, generally intrusive, and always tiresome--seldom read, more seldom desiderated: a piece of egotism at best, where the author, speaking of himself, has the less chance of being listened to. Yet--and what speaker does not think he ought to be heard?--the author conceives there may be some necessity, some reason, why he should step forward for the purpose of explaining his views in connection with the character and design of the following pages.

In the northern counties, and more particularly in Lancashire, the great arena of the STANLEYS during the civil wars--where the progress and successful issue of his cause was but too confidently anticipated by CHARLES STUART, and the scene especially of those strange and unholy proceedings in which the "Lancashire witches" rendered themselves so famous--it may readily be imagined that a number of interesting legends, anecdotes, and scraps of family history, are floating about, hitherto preserved chiefly in the shape of oral tradition. The antiquary, in most instances, rejects the information that does not present itself in the form of an authentic and well-attested fact; and legendary lore, in particular, he throws aside as worthless and unprofitable. The author of the "TRADITIONS OF LANCASHIRE," in leaving the dry and heraldic pedigrees which unfortunately constitute the great bulk of those works that bear the name of county histories, enters on the more entertaining, though sometimes apocryphal narratives, which exemplify and embellish the records of our forefathers.

A native of Lancashire, and residing there during the greater part of his life, he has been enabled to collect a mass of local traditions, now fast dying from the memories of the inhabitants. It is his object to perpetuate these interesting relics of the past, and to present them in a form that may be generally acceptable, divested of the dust and dross in which the originals are but too often disfigured, so as to appear worthless and uninviting.

Tradition is not an unacceptable source of historical inquiry; and the writer who disdains to follow these glimmerings of truth will often find himself in the dark, with nothing but his own opinions--the smouldering vapour of his own imagination--to guide him in the search.

The following extract from a German writer on the subject sufficiently exemplifies and illustrates the design the author has generally had before him in the composition and arrangement of the following legends:--

"Simple and unimportant as the subject may at first appear, it will be found, upon a nearer view, well worth the attention of philosophical and historical inquirers. All genuine, popular Tales, arranged with local and national reference, cannot fail to throw light upon contemporary events in history, upon the progressive cultivation of society, and upon the prevailing modes of thinking in every age. Though not consisting of a recital of bare facts, they are in most instances founded upon fact, and in so far connected with history, which occasionally, indeed, borrows from, and as often reflects light upon, these familiar annals, these more private and interesting casualties of human life.

"It is thus that popular tradition, connected with all that is most interesting in human history and human action, upon a national scale--a mirror reflecting the people's past worth and wisdom--invariably possesses so deep a hold upon its affections, and offers so many instructive hints to the man of the world, to the statesman, the citizen, and the peasant.

"Signs of approaching changes, no less in manners than in states, may likewise be traced, floating down this popular current of opinions, fertilising the seeds scattered by a past generation, and marking by its ebbs and flows the state of the political atmosphere, and the distant gathering of the storm.

"National traditions further serve to throw light upon ancient and modern mythology; and in many instances they are known to preserve traces of their fabulous descent, as will clearly appear in some of the following selections. It is the same with those of all nations, whether of eastern or western origin, Greek, Scythian, or Kamtschatkan. And hence, among every people just emerged out of a state of barbarism, the same causes lead to the production of similar compositions; and a chain of connection is thus established between the fables of different nations, only varied by clime and custom, sufficient to prove, not merely a degree of harmony, but secret interchanges and communications."

A record of the freaks of such airy beings, glancing through the mists of national superstition, would prove little inferior in poetical interest and association to the fanciful creations of the Greek mythology. The truth is, they are of one family, and we often discover allusions to the beautiful fable of Psyche or the story of Midas; sometimes with the addition, that the latter was obliged to admit his barber into his uncomfortable secret. Odin and Jupiter are brothers, if not the same person; and the northern Hercules is often represented as drawing a strong man by almost invisible threads, which pass from his tongue round the limbs of the victim, thereby symbolising the power of eloquence. Several incidents in the following tales will be recognised by those conversant with Scandinavian literature, thus adding another link to the chain of certainty which unites the human race, or at any rate that part of it from which Europe was originally peopled, in one original tribe or family.