Bauhaus-Universität Weimar

Titel:
A history of caricature and grotesque in literature and art
Person:
Wright, Thomas Fairholt, Frederick William
Persistente ID:
urn:nbn:de:gbv:wim2-g-1429385
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/resolver?urn=urn:nbn:de:gbv:wim2-g-1430494
Literature 
in 
Art. 
and 
55 
the Anglo-Saxon demons. To explain the Grit of thefe, it will be 
neceifary to itate that, according to the mediaeval notions, Satan, the arch 
demon, who had fallen from heaven for his rebellion againlt the Almighty, 
was not a free agent who went about tempting mankind, but he was 
himfelf plunged in the abyfs, where he was held in bonds, and tormented 
by the demons who peopled the infernal regions, and alfo itfued thence 
to feek their prey upon God's neweil creation, the earth. The hifiory of 
Satan's fall, and the defcription of his pofition (No. 29), form the fubjeet 
of the earlier part of the Anglo-Saxon poetry afcribed to Caedmon, 
and it is one of the illuminations to the manufcript of Caedrnon (which 
is now preferved at Oxford), which has furnifhed us with our cut, 
I7-,  X  
iii 
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No. 29. Satan in Bonds. 
reprefenting Satan in his bonds. The fiend is here pi6tured bound to 
Rakes, over what appears to be a gridiron, while one of the demons, 
rifing out of a fiery furnace, and holding in his hand an infirument of 
puniihment, feems to be exulting over him, and at the fame time urging 
on the troop of grotefque imps Who are fwarming round and tormenting 
their vidim. The next cut, N0. 30, is alfo taken from an Anglo-Saxon 
manufcript
        

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