Lapham’s Quarterly

In his third-century Interpretation of Dreams, Artemidorus lauded the soothsaying accuracy of Aristander, to whom Alexander the Great, while besieging the city of Tyre, Tyros in Greek, reported that he had dreamed of a satyr dancing on his shield. Aristander said that “satyr,” satyros in Greek, could be broken into “sa” and “Tyros,” meaning “Tyros is yours,” and encouraged Alexander to redouble his attacks. The Macedonian did, and he took the city.

In 1936, as part of the Federal Theater Project, Orson Welles at the age of twenty staged a version of Macbeth with an all-black cast, substituting voodoo for witchcraft and changing the setting from Scotland to Haiti. Reflecting on his interest in film in an interview in 1958, Welles said, “I liked cinema before I began to do it. Now I can’t stop myself from hearing the clappers at the beginning of each shot; the magic is destroyed.”

It is said that a visitor once came to the home of Nobel Prize–winning physicist Niels Bohr and, having noticed a horseshoe hung above the entrance, asked incredulously if the professor believed horseshoes brought good luck. “No,” Bohr replied, “but I am told that they bring luck even to those who do not believe in them.”

Among the acts advertised for a show in the Isle of Wight in 1849 by the “Unparalleled Necromancer Rhia Rhama Rhoos” were the Pudding Wonder and the Pyramid Wonder. The latter, it was noted, had been bought for five thousand guineas from “a Chinese Mandarin, who died of grief immediately after parting with the secret.” The performer and author of the ad copy was Charles Dickens.