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Excerpt from Memoirs of Extraordinary Popular Delusions — Volume 1, by Charles Mackay

 Orribili favelle--parole di dolor.--DANTE.

Among the black deeds which Superstition has imposed as duties upon
her wretched votaries, none are more horrible than the practices of the
murderers, who, under the name of Thugs, or Phansigars, have so long
been the scourge of India. For ages they have pursued their dark and
dreadful calling, moulding assassination into a science, or extolling it
as a virtue, worthy only to be practised by a race favoured of Heaven.
Of late years this atrocious delusion has excited much attention, both
in this country and in India; an attention which, it is to be hoped,
will speedily lead to the uprooting of a doctrine so revolting and
anti-human. Although the British Government has extended over Hindostan
for so long a period, it does not appear that Europeans even suspected
the existence of this mysterious sect until the commencement of the
present century. In the year 1807, a gang of Thugs, laden with the
plunder of murdered travellers, was accidentally discovered. The
inquiries then set on foot revealed to the astonished Government a
system of iniquity unparalleled in the history of man. Subsequent
investigation extended the knowledge; and by throwing light upon the
peculiar habits of the murderers, explained the reason why their crimes
had remained so long undiscovered. In the following pages will be found
an epitome of all the information which has reached Europe concerning
them, derived principally from Dr. Sherwood's treatise upon the subject,
published in 1816, and the still more valuable and more recent work of
Mr. Sleeman, entitled the "Ramaseeana; or, Vocabulary of the peculiar
Language of the Thugs."

The followers of this sect are called Thugs, or T'hugs, and their
profession Thuggee. In the south of India they are called Phansigars:
the former word signifying "a deceiver;" and the latter, "a strangler."
They are both singularly appropriate. The profession of Thuggee is
hereditary, and embraces, it is supposed, in every part of India, a
body of at least ten thousand individuals, trained to murder from their
childhood; carrying it on in secret and in silence, yet glorying in it,
and holding the practice of it higher than any earthly honour. During
the winter months, they usually follow some reputable calling, to elude
suspicion; and in the summer, they set out in gangs over all the roads
of India, to plunder and destroy. These gangs generally contain from ten
to forty Thugs, and sometimes as many as two hundred. Each strangler is
provided with a noose, to despatch the unfortunate victim, as the Thugs
make it a point never to cause death by any other means. When the gangs
are very large, they divide into smaller bodies; and each taking a
different route, they arrive at the same general place of rendezvous to
divide the spoil. They sometimes travel in the disguise of respectable
traders; sometimes as sepoys or native soldiers; and at others, as
government officers. If they chance to fall in with an unprotected
wayfarer, his fate is certain. One Thug approaches him from behind, and
throws the end of a sash round his neck; the other end is seized by a
second at the same instant, crossed behind the neck, and drawn tightly,
while with their other hand the two Thugs thrust his head forward to
expedite the strangulation: a third Thug seizes the traveller by the
legs at the same moment, and he is thrown to the ground, a corpse before
he reaches it.

Explanation ​

1. Context of the Source ​

Charles Mackay’s Memoirs of Extraordinary Popular Delusions and the Madness of Crowds (1841) is a historical account of mass delusions, financial bubbles, and cultural phenomena that have led to irrational collective behavior. Volume 1 includes discussions on alchemy, witch hunts, and—most relevant here—the Thuggee cult of India, a secretive brotherhood of ritualistic assassins who operated for centuries before British colonial authorities uncovered their existence in the early 19th century.

Mackay’s work is not an eyewitness account but a compilation of reports, primarily drawing from:

  • Dr. Sherwood’s 1816 treatise (one of the first European studies on Thuggee).
  • Captain William Sleeman’s Ramaseeana (1836), a lexicon of the Thugs’ secret language, based on his investigations as a British officer tasked with suppressing them.

The excerpt reflects colonial-era perspectives—a mix of fascination, horror, and moral condemnation—while also serving as a cautionary tale about how superstition and fanaticism can justify atrocities.

2. Summary of the Excerpt ​

The passage introduces the Thugs (or Phansigars), a secretive sect of professional assassins in India who:

  • Strangled travelers as a religious duty, believing their murders were divinely sanctioned.
  • Operated for centuries undetected, disguising themselves as merchants, soldiers, or officials.
  • Followed a hereditary, ritualistic code, training children in the "art" of murder.
  • Used a signature method: strangulation with a noose (hence "Phansigar," meaning "strangler").
  • Avoided detection by working in small, mobile gangs, dividing spoils at rendezvous points.

The British only discovered them in 1807, when a gang was caught with plundered goods, revealing a "system of iniquity unparalleled in history."

3. Key Themes ​

A. The Corruption of Faith into Fanaticism ​
  • The Thugs justified murder as a sacred duty, believing they were favored by the goddess Kali (though Mackay doesn’t name her here, later sources confirm this).
  • Mackay frames this as superstition’s darkest extreme: religion perverted into a license for violence.
  • Irony: The Thugs saw themselves as virtuous, while outsiders viewed them as monstrous—a clash of moral frameworks.
B. Secrecy and Deception ​
  • The Thugs’ duality is central: they appeared as ordinary traders or soldiers but were wolves in sheep’s clothing (biblical allusion).
  • Their language (Ramasee) and hereditary structure ensured secrecy, making them a shadow society within India.
  • Mackay emphasizes their methodical efficiency—strangulation was quick, silent, and left no trace of violence (unlike blades or guns).
C. Colonial Horror and the "Other" ​
  • The passage reflects 19th-century European shock at "oriental" brutality, framing Thuggee as:
    • "Unparalleled in history" (hyperbole to emphasize its uniqueness).
    • "Anti-human" (a moral judgment rooted in Enlightenment ideals of rationality).
  • The Thugs become a symbol of the "dark" East, contrasting with British "civilization." This aligns with colonial narratives that justified intervention as a moral duty.
D. The Banality of Evil ​
  • The Thugs’ routine is chilling: they worked seasonally (summer for murders, winter for cover jobs), treating killing as a trade.
  • Their division of labor (one strangler, one leg-holder) turns murder into a mechanical process, stripping it of emotional weight.

4. Literary Devices and Style ​

A. Sensational Language ​
  • Hyperbole: "unparalleled in the history of man," "scourge of India" – amplifies the horror.
  • Oxymoron: "dark and dreadful calling" (calling implies vocation, but dark/dreadful undermines it).
  • Metaphor: "moulding assassination into a science" – suggests cold, calculated precision.
B. Vivid Imagery ​
  • The strangulation description is clinically detailed:

    "One Thug approaches from behind... throws the end of a sash round his neck... drawn tightly, while... his head is thrust forward."

    • The step-by-step process makes the act visceral, almost like a how-to manual, which heightens the grotesquery.
  • Contrast: The Thugs’ ordinary disguises (traders, soldiers) vs. their hidden violence.
C. Authoritative Tone ​
  • Mackay cites sources (Sherwood, Sleeman) to lend credibility, presenting the account as objective history.
  • Passive voice: "assassination is extolled as a virtue" – distances the Thugs from humanity, making them seem like a force of nature.
D. Epigraph from Dante ​
  • The opening quote ("Orribili favelle—parole di dolor" – "Horrible speeches—words of pain") from Dante’s Inferno (Canto XXXII) sets a hellish tone.
    • In Dante, this line describes sinners in the ninth circle of Hell (treachery), linking the Thugs to ultimate evil.

5. Significance of the Passage ​

A. Historical Impact ​
  • The excerpt reflects the British colonial response to Thuggee, which led to:
    • Sleeman’s campaigns (1830s–40s): Thousands of Thugs were arrested, tried, and executed or imprisoned.
    • Legal reforms: The Thuggee and Dacoity Suppression Acts (1836–48) gave British authorities sweeping powers.
  • However, modern historians debate whether Thuggee was as organized as claimed or if the British exaggerated it to justify control.
B. Cultural Legacy ​
  • The Thugs became a Western myth, inspiring:
    • Literature: Wilkie Collins’ The Moonstone (1868) features Thug-like villains.
    • Film: Indiana Jones and the Temple of Doom (1984) draws on Thuggee imagery (though inaccurately).
  • The term "thug" entered English as slang for a violent criminal, stripping it of its original cultural context.
C. Psychological and Philosophical Questions ​
  • How does ideology justify atrocity? The Thugs’ belief system mirrors other fanatical groups (e.g., assassins in the Middle Ages, modern extremists).
  • The banality of evil: The Thugs’ routine, hereditary violence foreshadows Hannah Arendt’s concept of evil as bureaucratic.
  • Colonial gaze: The passage raises questions about who defines "delusion"—the Thugs saw themselves as holy, while the British saw them as monsters.

6. Critical Perspectives ​

  • Orientalism (Edward Said): Mackay’s portrayal fits the colonial trope of the "mysterious, violent East"—exoticizing India while positioning Britain as the rational savior.
  • Postcolonial Critique: Some scholars argue that Thuggee was sensationalized to demonize Indian culture and justify British rule.
  • Anthropological View: The Thugs’ rituals (e.g., offerings to Kali) suggest a distorted form of Tantric practices, where transgression was part of worship.

Conclusion: Why This Passage Matters ​

Mackay’s excerpt is more than a historical account—it’s a case study in how fear, faith, and power intersect. The Thugs embody:

  1. The danger of unchecked dogma (religion turned to murder).
  2. The power of secrecy (a hidden network operating for centuries).
  3. Colonial narratives of "civilizing" (Britain as the force of order against chaos).

The passage’s chilling detail and moral urgency make it a compelling exploration of human capacity for cruelty under the guise of virtue. It also serves as a warning about how easily violence can be institutionalized—whether through cults, states, or ideologies.

Would you like a deeper dive into any specific aspect, such as the Thugs’ religious beliefs or the British suppression campaigns?