“Pompeii like any other town,” Herman Melville wrote in his journal during an 1867 visit. “Same old humanity. All the same whether one be dead or alive. Pompeii comfortable sermon. Like Pompeii better than Paris.”

Opening night of Henry James’ Guy Domville, on January 5, 1895, was “an unmitigated disaster,” James wrote in a letter, “hooted at, as I was hooted at myself, by a brutal mob, and fruitless of any of the consequences for which I have striven.” The play’s reception, he wrote, “has completely sickened me with the theater and made me feel, at any rate for the present, like washing my hands of it forever.”

According to sixth-century-bc Greek poet Hipponax of Colophon, in times of drought, famine, or plague an ugly or deformed person was chosen by the community to be pharmakós, or scapegoat. After being fed figs, barley cake, and cheese, he would be struck on the genitals with the bulbs and twigs of wild plants, led on a procession accompanied by flute, and burned on a pyre. His ashes were thrown into the sea. It is believed that Hipponax, whom Pliny the Elder once called “notoriously ugly,” may have been exaggerating the ritual.

Accounts varied of the Great Famine of 1315–22, during which more than 10 percent of Europe’s population died. In Flanders: “Parents killed their children and children killed parents, and the bodies of executed criminals were eagerly snatched from the gallows.” In France: “There was no wine in the whole kingdom.”

Bibliophilic bishop Richard de Bury lamented the burning of the Library of Alexandria. “Who would not shudder at such a hapless holocaust, where ink is offered up instead of blood,” he wrote in 1344, “where the devouring flames consumed so many thousands of innocents?”