In , Jacques Auguste Simon Collin de Plancy published his Dictionnaire Infernal , but it wasn't until Henry Plon's sixth printing in that the book got its now-infamous illustrations, which are a world of wonderful. De Plancy was an atheist when he published the first edition, but became a Catholic over the intervening years and commissioned Luis Breton to create illustrations of demons for the Plon printing. I've read several articles on the Dictionary this morning and I still can't figure out why de Plancy had it out for a guy named "Leonard" -- judging from the pic, I'm assuming Lenny was a well-dressed scamp who broke de Plancy's heart, either directly or by seducing de Plancy's sweetheart. WELL… months before we were mandated to shelter in place, a local photographer, Stephen Loewinsohn, contacted our team at […].
|Published (Last):||12 July 2004|
|PDF File Size:||16.75 Mb|
|ePub File Size:||5.17 Mb|
|Price:||Free* [*Free Regsitration Required]|
Ed Simon explores the work and how at its heart lies an unlikely but pertinent synthesis of the Enlightenment and the occult. Astaroth, from the edition of Collin de Plancy's Dictionnaire infernal — Source. T here, between the entry for a seventeenth-century Anglican theologian named Assheton and one for the Levantine goddess Astarte, is the demon Astaroth.
Not an entirely inappropriate connection, for the Dominican inquisitor Sebastian Michaelis, who classified the demons he encountered as an exorcist at the infamous monastery of Loudun in the seventeenth century, associated Astaroth with the new rationalist philosophies that were just being born in France.
As he labored at subsequent editions, however, the secular folklorist found himself more and more pulled in by the lure of demonology, a passion which would eventually lead him, by the s, to enthusiastically embrace Catholicism. Adramelech, from the edition of Collin de Plancy's Dictionnaire infernal — Source. Amduscias, from the edition of Collin de Plancy's Dictionnaire infernal — Source. Amon, from the edition of Collin de Plancy's Dictionnaire infernal — Source.
Ephialtes, from the edition of Collin de Plancy's Dictionnaire infernal — Source. Eurynome, from the edition of Collin de Plancy's Dictionnaire infernal — Source. Asmodeus, from the edition of Collin de Plancy's Dictionnaire infernal — Source. Le Breton chose to depict Behemoth as a bipedal version of the latter, clutching his hairy, engorged belly like some sort of malevolent Ganesh. Behemoth, from the edition of Collin de Plancy's Dictionnaire infernal — Source.
Bael, from the edition of Collin de Plancy's Dictionnaire infernal — Source. His segmented thorax and spindly arms recall the flea magnified by Robert Hooke two centuries earlier, the English polymath's Enlightenment monstrosity demonstrating that the nightmares of reason and superstition are not always as divergent as we might think. Belzebuth, from the edition of Collin de Plancy's Dictionnaire infernal — Source. This connection between the ideals of the Enlightenment and the old world of magic and superstition from which these demons sprung was, in many ways, made literal by the figure of Collin de Plancy himself.
He was born in , only four years after the crowning or most condemnatory event of the Enlightenment: the French Revolution. Like his uncle, Collin de Plancy was originally a partisan of liberty, equality, and fraternity, an enthused reader of Voltaire and a zealous rationalist and skeptic; also like his uncle, he would ultimately see himself reconciled to that Church he had rejected, though with a detour through the darker corners of demonology. He combined the rectilinear logic of men like Voltaire and Diderot with the chthonic visions of the symbolist and decadent poets of a generation later — Rimbaud, Baudelaire, and Verlaine, who drunkenly stomped through the rainy streets of Paris clutching their fleurs du mal.
Collin de Plancy did not just convince himself that demons were real, but indeed he developed a wish to control them through language, a desire as fervent as that of his Enlightenment forebears to categorize and define words and ideas in dictionaries and encyclopedias.
The demonologist was a man stuck between logic and faith, the salon and the Hellfire club, who heard the screams of horrific monsters while writing with the sober pen of a naturalist. Like its creator, the Dictionnaire spanned the interests of two eras. Despite ancient and medieval precedents across several different cultures one can think of Aristophanes of Byzantium, who compiled a type of dictionary called the Lexeis two centuries before Christ , the dictionary and especially the encyclopedia were products of the eighteenth and nineteenth centuries.
The dictionary was sober, rational, and practical. Etymology was like dissection, another Enlightenment innovation, and the dictionary a sort of dissection theater. Is it a dictionary by name only, or could the affinities touch a deeper vein? And this yearning towards completion and the all-encompassing is not just a superficial similarity, for in their obsessions with words and language, the grimoire and the dictionary share a common faith — that mere verbal pronouncements have the ability to rewrite reality itself.
Both kinds of book are partisans of a Platonist philosophy that sees a type of word magic as being able to enact transformations in real life. For the rationalist lexicographer this means that mastery of rhetoric and syntax can affect our lives through the ability to explicate and convince; for the wizard this means that the magic of words can conjure alteration.
Detail from the frontispiece to the edition of Collin de Plancy's Dictionnaire infernal — Source. At the heart of this shared mission is the fact that both magic and reason have a motivating belief in the inherent explicability of reality: that there is a given order to the world and that human minds can comprehend and control this order.
Whether that order is supernatural or natural is somewhat incidental; that there is structure to the system is what is important. The Dictionnaire infernal , far from being an archaic remnant, reminds us that sharp distinctions between antiquity and modernity ultimately mean little. Ours has always been, and always shall be, a demon-haunted world. But, with apologies to C. Lewis, what grimoires prove is not that demons exist, but that they can be tamed.
He specializes in transatlantic seventeenth and early eighteenth-century literature with a focus on religion and colonization. His writings have appeared in various publications, including The Revealer and the Journal of the Northern Renaissance. He is also the assistant editor for the Journal of Heresy Studies. He can be followed on Twitter WithEdSimon. Explore our selection of fine art prints, all custom made to the highest standards, framed or unframed, and shipped to your door.
The demons of Jacques Auguste Simon Collin de Plancy's Dictionnaire Infernal
Gallica older. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus years or fewer. This work is in the public domain in the United States because it was published or registered with the U. Copyright Office before January 1, This tag is designed for use where there may be a need to assert that any enhancements eg brightness, contrast, colour-matching, sharpening are in themselves insufficiently creative to generate a new copyright.
Dictionnaire infernal/6e éd., 1863
The Dictionnaire Infernal English: " Infernal Dictionary " is a book on demonology , describing demons organised in hierarchies. Many but not all of these images were later used in S. Dictionnaire Infernal was first published in and then divided into two volumes, with six reprints—and many changes—between and This book attempts to provide an account of all the knowledge concerning superstitions and demonology.
Names of Demons from Collin de Plancy’s Dictionnaire Infernal
File:Jacques Collin de Plancy - Dictionnaire infernal.pdf