If we were to trace the origins of Halloween to one specific event in history, it would be when Pope Gregory III (731-741) dedicated an oratory in the original Saint Peter's Basilica of Rome in honor of all the Saints on November 1st, which initiated a local Roman custom to celebrate the feast of All Saints on November 1st. Before this time the feast of All Saints, also known as All Hallows, was celebrated throughout the Christian world since the 4th century to mainly commemorate all the Martyrs either in April or May, including Ireland. The Franks then the English were the first to follow Rome in celebrating the feast of All Saints on November 1st, and this became official under Pope Gregory VII in the early ninth century. The word Halloween merely refers to October 31st being the day of All Hallows Eve, and later November 2nd also became part of the Triduum with the commemoration of All Souls Day on which prayers and philanthropic acts were done on behalf of the dead, which was also part of established Christian tradition since the early centuries.Mystagogy (John Sanidopolous) really warms to the theme of Halloween monsters in their classical sense of monstrum, warnings or portents, which Bob Wallace likes to reference as well.
This may come as a shock to some who believe the myth that Halloween has its origins or is associated with paganism or satanism. The truth is that Halloween never was and never has been associated with paganism or satanism, though some pagans and satanists may embrace it as part of the melting pot we call America. Instead what we find is that the Church established Hallowmas as original holy days, not to sanctify an old pagan celebration among the Celts as has been popularly believed, but to celebrate an already well-established feast dedicated to all the Saints.
Up until the 19th century, Halloween in Western Europe and America was a firmly Roman Catholic feast day that acquired and developed various cultural traditions, as all major holidays did at the time and still do. The mythology that Halloween had pagan origins prior to Christian times arose for the first time in the 19th century among Celtic scholars, who had their own personal agendas in falsifying history. They came up with the idea that October 31-November 2 were days when pagan Celtic peoples celebrated a feast of the dead known as Samhain, even though there is no historical record of such a feast among the ancient Celts. How did they come up with this? It was believed at the time that Christian feast days, such as Christmas and Easter, had pagan origins, and that the Church merely Christianized established pagan celebrations to win over converts. The way the Celtic scholars explained the origins for the feast of All Saints, which was popular among the Irish of the 19th century, was by tracing it back to the ancient Celts, without historical precedence. Though these false ideas are still popularly believed today, any honest historian can easily spot the agenda in these falsifications of history, and they have been firmly discredited.
What about the macabre element of Halloween today? The macabre element of Halloween, like many apparently disagreeable and dark elements of all holidays, is really just a matter of perspective and attitude. First of all, the macabre is a natural element of the autumn season. Not only are the nights getting longer, but the weather is getting colder and the trees are stripped bare of their leaves. The colors and fragrances of death surround the atmosphere, and all we tend to see are cloudy days with lots of oranges, browns and blacks. Secondly, Gothic fiction arose in the 18th and 19th century based on the stories surrounding medieval architecture and art, as well as old superstitions and tales. Horror stories from that time on have always had an atmospheric element that appeals to one's artistic sensibilities combined with imaginative fears. For people who enjoy horror stories and movies, this artistic and atmospheric element is realized tangibly at Halloween time not only through costumes, but in popular culture and especially the ever-popular haunted houses. These things are not created primarily to scare people, but are more like museums of the macabre imagination based on old tales and fears. If these things are only created to scare without the artistic element, then they usually fail their purpose. Modern Halloween is basically defined by these two natural and fictional elements.When my daughter was very young, I told her that the witches, ghosts, goblins and other evil characters of Halloween have no more power in the world, according to our saviour Jesus Christ:
St. Photios the Great, in his Myriobiblion, reviews a fiction story he read, in which he concludes the following regarding fiction stories: "In the story, particularly, as in fabulous fictions of the same kind, there are two considerations most useful to notice. The first is that they show that evildoers, even if they seem to escape a thousand times, always get their punishment; the second, that they show many innocents placed in great danger often saved against all hope." The fictional stories told around Halloween, the great majority of the time, contain these same elements St. Photios praises in his review. This is most especially evident in old Gothic tales, such as Mary Shelley's Frankenstein, Bram Stoker's Dracula and Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, and even found quite often in modern horror fiction and movies...
The famous horror director Guillermo del Toro says: "Monsters are living, breathing metaphors." Horror stories, like most fiction, are usually metaphors for something deeper that teaches us about ourselves, our environment or our situations of either the past, present or future. Noted horror author Stephen King has famously written: "Monsters are real, and ghosts are real too. They live inside us, and sometimes, they win.” Robert Louis Stevenson once wrote to a friend something similar about his story that is full of metaphors: "Jekyll is a dreadful thing, I own, but the only thing I feel dreadful about is this damned old business of the war in the members. This time it came out; I hope it will stay in, in future." George Romero, the director of the highly metaphorical Night of the Living Dead and the creator of the modern Zombie phenomenon, has commented: "I also have always liked the monster within idea. I like the zombies being us. Zombies are the blue-collar monsters." The great silent horror actor Lon Chaney once said of the roles he played: "I wanted to remind people that the lowest types of humanity may have within them the capacity for supreme self-sacrifice. The dwarfed, misshapen beggar of the streets may have the noblest ideals. Most of my roles since The Hunchback of Notre Dame, such as The Phantom of the Opera, He Who Gets Slapped, The Unholy Three, etc., have carried the theme of self-sacrifice or renunciation. These are the stories which I wish to do." Tragedy often gives birth to horror, but it cannot be denied that the most horrible elements are what we carry within ourselves. As Oscar Wilde wrote in his tale The Picture of Dorian Gray: "The books that the world calls immoral are books that show the world its own shame.”
17And the seventy returned again with joy, saying, Lord, even the devils are subject unto us through thy name. 18And he said unto them, I beheld Satan as lightning fall from heaven. 19Behold, I give unto you power to tread on serpents and scorpions, and over all the power of the enemy: and nothing shall by any means hurt you. 20Notwithstanding in this rejoice not, that the spirits are subject unto you; but rather rejoice, because your names are written in heaven.In strict theological terms I don't think my interpretation is accurate, but that's how this Gospel passage has always struck me, and I like to think about it this way. And my daughter has never been afraid of ghosts or goblins or witches since.
21In that hour Jesus rejoiced in spirit, and said, I thank thee, O Father, Lord of heaven and earth, that thou hast hid these things from the wise and prudent, and hast revealed them unto babes: even so, Father; for so it seemed good in thy sight. 22All things are delivered to me of my Father: and no man knoweth who the Son is, but the Father; and who the Father is, but the Son, and he to whom the Son will reveal him.
23And he turned him unto his disciples, and said privately, Blessed are the eyes which see the things that ye see: 24For I tell you, that many prophets and kings have desired to see those things which ye see, and have not seen them; and to hear those things which ye hear, and have not heard them.