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Pyewacket

Pyewacket was the name of one of several demonic spirits attributed to an accused witch during the English witch hunts of the mid-17th century, as documented by , the self-proclaimed Witchfinder General. In his 1647 pamphlet The Discovery of Witches, Hopkins reported that a woman in , , confessed in March 1644 to having multiple imps, including Pyewacket, which were said to take animal forms and suck blood from secret teats on the witches' bodies as part of their infernal pact with the . These familiars, named alongside like Elemanzer, Peckin the Crown, Grizzel, and Greedigut, were presented as evidence of because Hopkins claimed "no mortall could invent" such unusual names, using them to justify the persecution and execution of dozens of women in between 1644 and 1647. The name Pyewacket itself may derive from an indigenous place name in colonial , possibly a village in present-day , transmitted to England through connections like those between Hopkins' family and Massachusetts Governor . The concept of Pyewacket as a exemplifies the superstitious beliefs in imps as shape-shifting servants of witches, often appearing as cats, dogs, or other , which fueled the of the era's trials. ' methods, including and pricking for the Devil's mark, led to the conviction of over 100 individuals, with Pyewacket's mention highlighting how invented or exotic names were weaponized as "proof" of the . In modern culture, the name has endured, notably as the familiar of the witch Gillian Holroyd (played by ) in the 1958 film , a that playfully invoked tropes. It also inspired the title of the 2017 Canadian Pyewacket, directed by , where a teenage girl summons a by that name in a gone awry. These references underscore Pyewacket's lasting association with feline familiars and lore in popular .

Historical Background

Matthew Hopkins' Witch-Hunting Activities

Matthew Hopkins was born around 1620 in Great Wenham, Suffolk, England, as the son of James Hopkins, a Puritan minister and vicar at the local church in Wenham. Trained as a lawyer, he relocated to Manningtree in Essex, where he lived as an innkeeper before embarking on his notorious career. In early 1644, Hopkins claimed personal encounters with witchcraft, including overhearing local women discussing meetings with the Devil, which prompted him to accuse several individuals and initiate his self-proclaimed role as Witchfinder General. This marked the start of his operations, beginning with the Manningtree witch trials as an example of his early work. Hopkins employed a range of coercive techniques to identify witches, emphasizing the detection of signs and forced admissions. Central to his approach was , where suspects were kept awake for several days by constant to provoke confessions of pacts with the . He also conducted tests, using needles to probe the body for "witch's marks"—insensible spots that did not bleed or cause pain, interpreted as the 's seal—often employing assistants known as "prickers." The swimming ordeal involved binding the accused and submerging them in water; floating was seen as evidence of guilt due to the water's rejection of the unholy, while sinking indicated innocence, though it frequently resulted in . Additionally, Hopkins monitored suspects for the of familiars, demonic animal spirits, and relied on confessions extracted under these duressful conditions as primary evidence. Operating mainly in East Anglia from 1644 to 1647, and his team traveled across counties such as , , , and , responding to local fears exacerbated by the . He accused over 300 individuals, predominantly women, of , resulting in between 100 and 230 executions by , with many more dying in custody. To fund his activities, charged fees of 20 shillings per town investigated, sometimes escalating to £23 for larger efforts, and he collaborated closely with assistants including John Stearne, who handled much of the physical questioning. In 1647, amid growing criticism, he published The , a pamphlet defending his methods, justifying the use of non-traditional proofs like familiars and marks, and serving as a practical guide for others in witch detection.

The Manningtree Witch Trials of 1644

The Manningtree witch trials commenced in March 1644 in the town of , , , during a period of heightened social and religious tensions amid the (1642–1651) and the rise of Puritan fervor that amplified fears of and moral disorder. Local rumors of witchcraft prompted the involvement of , a self-proclaimed witchfinder, who identified seven or eight women in Manningtree and nearby areas as practitioners of the craft, marking the start of his notorious campaign. These events reflected the peak of witch panics in England, driven by wartime instability and Puritan beliefs in demonic influences, before a decline after 1647 due to growing skepticism and legal challenges. Central to the Manningtree accusations was the case of one elderly woman, identified in historical records as , an approximately 80-year-old resident suspected of causing harm through witchcraft. Under ' direction, Clarke was subjected to sleep deprivation—a method he employed to provoke confessions by observing suspected witches for signs of familiars—as ordered by a local . She was kept awake for two or three nights by a group of watchers, culminating in her on the final night in the presence of ten witnesses. During her , Clarke admitted to entertaining imps and named several familiars, reportedly a quarter of an hour before their visible appearances, which the witnesses claimed to observe sucking at her body. She further implicated other women, confessing to receiving imps from them, including one named Pyewacket among a total of eleven such spirits detailed across the and adjacent confessions. This process, facilitated by ' techniques of watching and searching for devil's marks, fueled a chain of accusations in the region. The trials formed part of the larger witch hunts, resulting in 29 condemnations across the county. Four women, including some from , were executed by hanging approximately 25 miles away, as authorities sought to deter further supposed diabolical activities, such as attempts to harm with a bear-like devil. These outcomes exemplified the rapid escalation of ' investigations, which spread beyond but began to wane as public and official scrutiny increased by the late 1640s.

The Familiar Spirit

Description in Contemporary Accounts

In ' pamphlet The Discovery of Witches (1647), Pyewacket is named as one of ten imps confessed to by , a witch from , , during interrogations conducted by Hopkins himself. This confession, extracted under duress, listed Pyewacket alongside other familiars such as Elemanzer, Peckin the Crown, Grizzel, and Greedigut, though unlike the more vividly described imps—such as , depicted as a long-legged with an ox-like head—Pyewacket received no specific physical form in the account. These familiars were understood as demonic spirits dispatched by the Devil to serve witches, manifesting in animal guises to execute malefic acts like causing illness or death while demanding sustenance from their human counterparts. Pyewacket, like the others, was believed to suckle blood from secret teats on the witch's body—often likened to infants—to maintain the infernal , a trait emphasized as physical evidence of during examinations. This feeding mechanism underscored the familiars' role in binding witches to demonic service, granting them supernatural power in exchange for loyalty and bodily tribute. The pamphlet's visually reinforced these claims, portraying two accused witches identifying a group of animal-shaped familiars before and local officials, serving as propagandistic imagery to justify the witch hunts. In broader 17th-century English , such familiars exemplified the impersonal, often whimsically named entities that embodied the era's fears of hidden diabolism, appearing as everyday animals to evade detection while enabling covert sorcery.

Associated Familiars and Their Roles

In the confessions obtained during the Manningtree witch trials, one accused witch described possessing five distinct familiars, each taking an animal form believed to embody demonic spirits. These included Holt, a white kitling (young cat); Jarmara, depicted as a fat spaniel without legs; Vinegar Tom, a long-legged greyhound with an ox-like head, a long tail, and broad eyes, capable of shapeshifting into a headless four-year-old child; Sack and Sugar, a black rabbit; and Newes, a polecat. These forms were said to appear on the witch's command after being named, reflecting the demonic versatility in assuming guises that blended familiar animals with unnatural traits. Additional imps were confessed by fellow witches in the same network, including Elemanzer, Pyewacket, Peckin the Crown, Grizzel, and Greedigut, bringing the total to ten familiars documented across the group. Unlike the more vividly described forms of the primary witch's familiars, Pyewacket and the others lacked specific animal attributions in the accounts, suggesting they functioned as standard imps without elaborated shapes, though grouped similarly in the interrogations. This ensemble was illustrated in the frontispiece woodcut of Hopkins' pamphlet, emphasizing the collective identification of such spirits. All these familiars served uniform roles in performing maleficium, or harmful , such as inflicting illnesses on or manipulating to cause destruction, as directed by their witches through pacts with the . They were sustained by sucking blood from the "," a supernumerary or blemish on the body, which ' searches confirmed as evidence of their presence. The witches reportedly convened these imps during nocturnal meetings every six weeks, summoning them to execute communal malice. The varied yet interconnected roles of these familiars underscored the of a widespread witch coven in ' account, portraying an organized that justified the escalation of accusations and executions across . By highlighting their shared functions in maleficium and sustenance, the confessions reinforced the interconnectedness of the , transforming individual testimonies into proof of a broader .

Etymology and Name Origins

Possible Indigenous Roots

One prominent theory posits that the name "Pyewacket" derives from "Pequawket" or "Pigwacket," an Eastern (Algonquian) term referring to a tribal group and their village located near the headwaters of the in present-day , and . The etymology traces to the Abenaki word apíkwahki or pekwakik, meaning "land of hollows," "at ," or "at the opening," likely alluding to local geological features such as caves, springs, or sandy depressions along the branching river valley. This interpretation aligns with broader Algonquian naming patterns for landscape features, emphasizing natural formations rather than abstract concepts. Historical transmission of the name into English likely occurred through early 17th-century colonial explorations and settlements in , predating ' 1645 accounts by at least two decades. Early reports from the 1620s and 1630s by and colonists documented geography in the region, with the specific tribal name appearing in these accounts. Phonetic similarity between "Pie-wacket" and "Pequawket" indicates an anglicized borrowing, facilitated by Puritan settlers' interactions and family networks, such as those linking Hopkins to Governor , whose journals record early place names. Evidence from these periods, including explorer narratives, supports the name's non-invented origin, as it circulated in colonial documents well before its 1644 application in English witch trials. Alternative theories proposing or dialectal roots, such as combinations of "" (meaning ) and "" (a small gate), lack historical or linguistic support and are dismissed as folk etymologies without attestation in pre-colonial English sources. The derivation remains the most rigorously evidenced explanation, underscoring cross-cultural linguistic exchange in early colonial . Later, the name was briefly adopted in English witch lore as an exotic descriptor for a demonic .

Integration into English Folklore

The name Pyewacket first appeared in English documentation during the Essex witch trials of 1645, as recorded in the anonymous pamphlet A True and Exact Relation of the Severall Informations, Examinations, and Confessions of the Late Witches, Arraigned and Executed in the County of (1645), where it was identified as one of the familiar spirits confessed by accused Elizabeth . This initial reference positioned Pyewacket as an impish entity in the shape of a or similar form, sucking blood from the witch's familiar mark as part of a demonic . No prior English usage of the name has been identified before these 1644–1645 proceedings, indicating that or the accused likely drew from contemporary reports of colonial encounters in . By 1647, Pyewacket gained wider circulation through ' influential treatise The : In Answer to Severall Queries, Lately Delivered to the Judges of Assize for the Discovery of Witches, which reiterated the name among a list of imps including Elemanzer, Peckin the Crown, Grizzel, and Greedigut, derived from multiple confessions leading to the condemnation of 29 individuals in . The choice of such an unfamiliar, exotic-sounding name may have been deliberate to underscore foreign demonic influences, resonating with mid-17th-century English anxieties over Catholic plots and emerging colonial narratives from the . This integration reflected a broader synthesis of traditional European —emphasizing named spirits as personal agents of the —with sensationalized accounts of "savagery" and indigenous spiritual beliefs. In subsequent witch-hunt narratives following ' activities, Pyewacket became emblematic of the quirky yet malevolent familiars that humanized and terrorized the in English , appearing in variations such as "Pye Wacket" across 17th-century trial records and pamphlets. It formed part of a corpus of distinct names for familiars documented in English proceedings from the 1640s to 1660s, often used to lend authenticity and memorability to accusations. Although the intensity of witch trials waned after the 1660s with the decline of prosecutions, the name endured in regional oral traditions as a for mischievous witch's companions, blending into tales of spectral animals and hidden pacts.

Cultural Legacy

Representations in Literature and Film

In the 1950 Broadway play by , Pyewacket appears as the Siamese cat familiar belonging to the modern-day witch Gillian Holroyd, serving as a conduit for her mischievous spells in a romantic comedy exploring witchcraft and forbidden love. The cat's role underscores the play's lighthearted take on supernatural elements, where Pyewacket aids Gillian in enchanting her neighbor, only to complicate her budding romance as her powers wane. This portrayal draws loosely from historical accounts of familiars like the imp associated with 17th-century witch trials, transforming the figure into a charming, everyday companion. The 1958 film adaptation, directed by and starring as Gillian alongside , faithfully retains Pyewacket—played by multiple cats—as a central character who embodies the story's blend of whimsy and magic. In the narrative, the cat facilitates Gillian's love spell on Stewart's character, but its disappearance symbolizes her renunciation of for genuine emotion, highlighting themes of self-discovery amid comedic antics. The production's use of up to 12 cats for stunts emphasized Pyewacket's pivotal, endearing presence in this . Shifting to children's literature, Rosemary Weir's 1967 novel Pyewacket reimagines the name for an anthropomorphic alley protagonist, a tough, one-eyed tom leading a band of felines in Pig's Lane on whimsical adventures against encroaching human development. Illustrated by Charles Pickard, the story follows Pyewacket and his companions as they ally with rats to sabotage their owners' homes, only to face unintended consequences when the structures are demolished for a , ultimately finding a new purpose as rat catchers. This depiction pivots Pyewacket from a demonic entity to a resilient, adventurous animal hero, emphasizing themes of community and adaptation in a tale accessible to young readers. The 2017 horror film Pyewacket, written and directed by , casts the entity in a darker light, with teenager Leah () summoning the spirit Pyewacket through an occult ritual to kill her mother (), unleashing escalating supernatural horrors that blur regret and reality. Premiering at the , the film builds tension through Leah's isolation and the manifestation of Pyewacket as an invisible, malevolent force, culminating in psychological terror that examines familial strife and the perils of unchecked anger. Across these works, Pyewacket evolves from a historical familiar spirit rooted in feared to either an endearing magical aide in comedic contexts or a horrifying in modern horror, reflecting broader cultural shifts in perceptions of the from dread to domesticated charm or renewed menace. In contemporary culture, the name Pyewacket has been prominently adopted for a series of high-performance sailing yachts owned by Roy P. Disney, grand-nephew of , beginning in 1989. The latest iteration, Pyewacket 70, is a modified Ocean 70 (VO70) vessel that underwent significant upgrades around 2017 to enhance its speed for . This yacht has achieved notable successes, including multiple wins and the Barn Door Trophy in the Transpacific (Transpac) over 17 participations spanning more than three decades, a course record set in 1999 on an earlier 74-foot version, line honors in the 2024 , first place in the 2023 RORC 600, and overall victory with line honors at the 2025 Sailing Week. As of 2025, Pyewacket 70 remains active in major events, such as the Rolex Fastnet , embodying themes of speed and enigmatic allure drawn from its historical origins. The name also inspired Pyewackett (with a spelling variation), a band active in the early to mid-1980s, known for blending traditional English tunes with original compositions. The group released four albums during the decade, including Pyewackett (1981) featuring tracks like "Halfe Hannikin" and "Two Sisters," and The Man in the Moon Drinks Claret (1983), which incorporated sea shanties, Civil War-era songs, and vivacious arrangements reflective of the era's . Following the 1958 film , which featured Pyewacket as a familiar, the name gained popularity for pet cats, particularly those with a mystical or elegant demeanor. This trend persists in modern pet naming, often evoking whimsy and associations. In niche , Pyewacket appears in minor capacities within occult-themed contexts, symbolizing a shift from 17th-century associations with terror to 21st-century emblems of adventure and lighthearted .

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