A tall man, as tall as Le Loup he was, clad in black from head to foot, in plain, close-fitting garments that somehow suited the somber face.
Substance over style
Perhaps unsurprisingly, for such a single-minded character, Solomon Kane seems to dress for practicality rather than fashion. A hat is his most frequently mentioned item of clothing, making an appearance no less than seven times during his adventures.[2] In ‘The Blue Flame of Vengeance’, Kane’s hat is specified as a slouch hat,[3] a kind of soft hat with a brim. In that story, Jonas Hardraker mockingly refers to Kane as “Broadbrim”,[4] which gives a further clue to the hat’s appearance.
It may be that a slouch hat is Kane’s preferred type of headgear: he is described as wearing one in no fewer than four of the stories set during his long journey in Africa. [5] Just like the hat that he sported in ‘The Blue Flame of Vengeance’, this one also has a broad brim.[6] Admittedly, Kane seems to have spent a long time in Africa, which would have left him without access to European clothing. He is no doubt forced to continue wearing the slouch hat even after it has been damaged.[7]
However, it seems plausible that this sort of hat would be favoured by him. A hat with a broad brim would have been a useful item, protecting him from the sun and – depending on the material – the rain. The hat’s protective qualities are recognised by N’Longa in “The Hills of the Dead”. ‘“Keep on one fellow hat, blood-brother,” admonished N’Longa with a low gurgle of amusement. “That fellow sun, he knock you dead, suppose you no look out.”’[8] Kane heeds this advice: when his hat is stolen in ‘The Children of Asshur’, he creates a makeshift hat out of leaves to protect himself from the sun.[9]
Another practical item of clothing often sported by Kane is a cloak. This type of garment makes an appearance in “Red Shadows” and “The Children of Asshur”.[10] ‘The Blue Flame of Vengeance” provides a little more detail, describing it as a wide cloak that Kane can wrap around himself.[11] No doubt it keeps out the cold when he’s not warming himself with the fire of his righteous vengeance.
What Kane wears underneath his cloak becomes clear later in ‘The Blue Flame of Vengeance’: when Kane prepares to fight Jonas Hardraker, he removes his jacket so that he can fight in his shirt-sleeves.[12] The word ‘jacket’ here could mean a jacket in the modern sense,[13] or could possibly be a reference to a similar garment, such as a doublet or jerkin. In ‘Wings in the Night’, it is strongly implied that Kane sports a more period-appropriate doublet.[14]
In “The Blue Flame of Vengeance”, Jack Hollinster observes that Kane wears shoes,[15] which he presumably pairs with breeches (or hose) and stockings. During his time in Africa, though, Kane wears boots rather than shoes. These are first mentioned in “Hawk of Basti”,[16] and in “Wings in the Night” it is revealed that they are made of Cordovan leather.[17] This hard-wearing and naturally water-resistant material that would be the perfect choice for travelling.
Rags and tatters
Cordovan leather is a costly material, used to make high quality footwear, and Kane’s boots were likely expensive and well made. The same is probably true of the rest of his clothing: black fabric was expensive in the days before synthetic dyes. However, not even the best quality clothing could survive for very long, given Kane’s lifestyle. The man spends years travelling abroad, covering thousands of miles in his wanderings and his quests for vengeance.
During his long journey in Africa, in particular, we see his clothing become progressively more damaged. Even relatively early in this journey, in “The Hills of the Dead”, Kane’s ‘tattered garments showed the effect of long bush travel’.[18] By the time of “Hawk of Basti” he also has ‘worn boots’,[19] and when we see him in “Wings in the Night” his hat has been torn.[20] As well as the general wear and tear of travel, fighting a whole range of human and inhuman foes also takes its toll on Kane’s clothing, frequently leaving it in tatters.[21]
The worn and tattered state of his outfit shows that Solomon Kane carries little or nothing in the way of spare clothing. In “The Moon of Skulls”, Kane carries a ‘large pouch he wore at his shoulder’, something that he is forced to abandon when scaling a crag on his journey to the kingdom of Negari.[22] During his long trek across Africa, beginning with “The Hills of the Dead”, Kane seems to have carried something similar.[23] However, Kane is unlikely to have burdened himself with anything he considered superfluous, and additional clothing seems to fall into this category. That doesn’t, however, mean that he pays no attention to what he wears.
The man in black
In the first published description of Solomon Kane, in “Red Shadows”, he is described as ‘clad in black from head to foot’.[24] His wardrobe changes very little from that point onwards. Kane is a man who knows what he wants to wear, and sticks with it, instead of following the latest fashions. In “The Blue Flame of Vengeance”, he is again ‘dressed all in black’,[25] while both “Rattle of Bones” and “The Hills of the Dead” refer to his black garments.[26] “The Castle of the Devil” mentions Kane’s ‘dark’ clothes,[27] while multiple stories refer to his outfits as ‘somber’[28] or ‘drab’.[29]
The use of the words ‘somber’ and ‘drab’ do double duty here. They can be used to describe the colour of Kane’s clothing – dark or dull – but they have other meanings, too. ‘Somber’ carries an implication of seriousness, or of sadness, which fits to some extent with what we know of Kane’s character. ‘Drab’ can also mean plain or uninteresting, and while that in no way reflects Kane’s personality, it does indicate the plainness of his clothes.
In both ‘Red Shadows’ and ‘The Castle of the Devil’, Kane’s outfits are described as ‘plain’.[30] The fullest description of this simplicity of dress is given in a passage from “The Blue Flame of Vengeance.”
The stranger’s clothing was simple, severely plain and suited the man. His hat was a black slouch, featherless. From heel to neck he was clad in close-fitting garments of a sombre hue, unrelieved by any ornament or jewel. No ring adorned his powerful fingers; no gem twinkled on his rapier hilt and its long blade was cased in a plain leather sheath. There were no silver buttons on his garments, no bright buckles on his shoes.[31]
Several other stories refer to Kane’s unadorned style of clothing, making reference to his ‘featherless’ hat.[32] This is in stark contrast to the flamboyant Gaston l’Armon from “Rattle of Bones”, who is ‘bedecked with lace and plumes’.[33] Similarly, Sir George Banway in “The Blue Flame of Vengeance” sports a shirt with a ‘ruffled silk sleeve’,[34] while his friend Sir Rupert wears a ‘vast cocked hat’.[35] Perhaps the most extreme example of the flamboyantly dressed villain comes from the same story. Jonas Hardraker, despite certain similarities to Kane,[36] is his opposite in terms of personal appearance.
He was scantily but gaudily clad, and ornate with silken sash and silver buckles, and gilded tassels. His broad girdle bristled with dagger hilts and pistol butts, scintillant with jewels. A long rapier, resplendent with gold-work and gems, hung from a rich scroll-worked baldric. From each slim gold ear ring was pendant a sparkling red ruby of goodly size[37]
The exception that proves the rule
One notable exception to Kane’s drab and monochrome appearance is the green sash that he wears in “The Blue Flame of Vengeance”. This sash breaks up the drab monotony of Kane’s clothing ‘in a novel and bizarre manner’.[38] Its colour is ‘virulent green’, and it is knotted ‘gypsy-fashion about his waist’.[39] It’s surprising that Kane – whose clothing is otherwise dark, monochrome, and unadorned – would wear this sash. Equally interesting is the way its appearance is described in ominous terms. The colour is described as ‘sinister’ and ‘like a serpent’s hide’[40] – and snakes usually signify danger, evil and sin in the world of Solomon Kane.
The sash is described as ‘silk of Oriental workmanship’,[41] although the word ‘Oriental’ at this period might refer to anything east of Europe, rather than what we would consider to be Asia in the modern day. An exotic item, it would have been expensive to buy in Europe, and combined with its striking appearance it seems out of place next to Kane’s drab black garments. Surely there is a story behind it, waiting to be told.
Many depictions of Kane make a broad sash a part of his typical costume, albeit sometimes in red rather than green. However, this story is its only confirmed appearance in Howard’s original works, and Kane surely cannot have worn it in those stories that describe him as wearing only dark clothing. Perhaps there is something about the events of this particular story that makes Kane add the sash to his usual outfit.
Kane’s pursuit of Jonas Hardraker is a particularly personal quest for him. A young girl, known to Kane from infancy, was murdered by the pirate, and her father, an old friend of the puritan, went insane on hearing the news. Is it possible that the scarf is a keepsake, a reminder of the girl? Is it possible that he himself gave it to her as a gift? In “The Moon of Skulls”, Kane reveals that he has travelled to the Levant,[42] which would have been classed as Oriental at the time. In the same story he also says, “I have sailed the seas, even to Hindostan and Cathay”,[43] which are modern-day China and the northern part of the Indian subcontinent. Did Kane perhaps bring back a silk sash as a present for the child? It's pure speculation, of course, but sometimes it’s difficult to resist the urge to speculate in the face of such tantalising clues.
A man of wealth and taste
At the beginning of “The Castle of the Devil”, John Silent immediately recognises Kane as an Englishman. “And a Puritan, by the cut o’ that garb,” he says.[44] This is the only time that another character verbally identifies Kane’s religion from his clothes, but in three other stories his clothing, or general appearance, are described as puritanical.[45]
Many readers will assume that it is Kane’s dark clothing that marks him out as a puritan. However, contrary to popular belief, not all puritans wore black, and the colour certainly did not signify humility – quite the opposite, in fact. ‘Magistrates and Ministers were likely to have clothing dyed black, but this was a sign of their distinction since black was the most expensive fabric to make and a sign of high status, not sobriety.’[46]
What isn’t clear is Kane’s own intention behind his choice of black clothing. If he mistakenly believes that wearing black is a sign of humility and faith, then he has a poor understanding of puritan social conventions. If he wears it knowing that it is a sign of wealth and status, he surely doesn’t do so to flaunt his wealth in front of others. Perhaps he wears it because it is the type of clothing suitable to his original position in life, whatever than may have been before he became a landless wanderer. As always with Solomon Kane, there are more questions than answers.
Dressed to kill
Puritans didn’t wear a uniform of black. In fact, they didn’t wear any distinctive clothing that marked them as members of their faith. They wore clothes that were typical of the period, and appropriate to their status and occupation. ‘Laborers dressed in woolens dyed in earth tones because such clothing was durable and less likely to show dust and dirt. Puritans of higher status could wear … outfits of silk and satins in a variety of bright colors.’[47]
However, puritan clothing did tend to have certain characteristics. Puritans rejected fashions that they viewed as sexually provocative, such as low-cut bodices and exaggerated male codpieces.[48] They also preferred their outfits to be simple, debating details such as how many ribbons on a dress were acceptable, or how many slashes should be allowed in a gentleman’s shirt sleeves.[49] The conservative pamphleteer Phillip Stubbes criticised a number of the fashions of the day for their expense, flamboyance and impracticality. He condemned the ‘great and monstrous ruffes … a quarter of a yarde deepe’ and doublets in which a man could ‘neither worke nor yet well playe’.[50]
In these respects, Kane conforms to puritan expectations. He is described as clothed from ‘heel to neck’,[51] and is known to cover himself with a cloak. The only time he exposes any flesh is when his clothes are damaged during the course of his adventures. Although it is never stated in Howard’s text, we can be fairly confident that there are no exaggerated codpieces in Solomon Kane’s wardrobe!
Kane’s lack of ornamentation (the green sash aside) would have met with approval from his fellow puritans. It would also have made his outfits very practical, a crucial requirement for a man who could not afford to be hampered by his clothing during a fight, or while scaling a cliff in the dark. This need for sleek fighting efficiency is likely the reason why Kane wears close-fitting clothing, something that is mentioned in several stories.[52]
So Kane’s clothing is puritan, after all – not because it is black, but because it is modest, unadorned, and appropriate for his work.
And so to bed
At the end of a hard day’s adventuring, Solomon Kane has been known to lie down in his clothes to sleep. We see him do this in “The Hills of the Dead” while sheltering in a cave with Zunna,[53] although this could be explained by his reluctance to undress in front of a woman. By the time of “Wings in the Night”, though, we learn that Kane habitually sleeps ‘with his weapons buckled on him’.[54] In “The Children of Asshur”, we also see him sleeping ‘fully clad, save for his slouch hat and cloak’.[55]
It's likely that Kane has had this habit for some time, a habit that he developed during dangerous journeys around the world. In “Rattle of Bones”, he tells Gaston that he sleeps “with a pistol at hand.” [56] It’s possible, of course, that Kane has no intention of sleeping with a loaded pistol and that he simply wishes to discourage Gaston from attacking him in the night. It’s also possible that Kane does intend to spend the night at the inn armed and ready, but that it is not his custom to do so. However, given Kane’s long-standing ability to attract trouble, and the need to be instantly ready to respond, it’s plausible that he always sleeps fully clothed with his weapons ready.
Besides, at this period in history many people of lower income did not own separate sleeping garments. It was common for people to sleep in their daytime clothes – their shirt or shift, at least[57] – so Kane’s behaviour in this respect is not as unusual as it might initially seem.
1 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 37.↩
2 The hat is mentioned in “Red Shadows” and “Rattle of Bones”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 37 & 75.)↩
3 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 186 & 198.↩
4 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 206.↩
5 “The Hills of the Dead”, “Hawk of Basti”, “Wings in the Night” and “The Children of Asshur”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 186, 198, 225, 264, 276, 280, 349 & 350.)↩
6 In an echo of Jonas Hardraker’s taunt, Jeremy Hawk calls Kane “my brave broadbrim”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 263.)↩
7 By the time of “Wings in the Night”, Kane’s hat is described as torn. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 276.)↩
8 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 243.↩
9 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 351.↩
10 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 32, 349 & 350.↩
11 Kane ‘wrapped his wide black cloak about him’. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.)↩
12 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 205.↩
13 The word is attested from the mid-15th century. (https://www.etymonline.com/word/jacket [accessed 08 July 2022].)↩
14 The story talks of the Aryan barbarian, ‘whether he be clad in wolf-hide and horned helmet, or boots and doublet – whether he bear in his hand battle-ax or rapier – whether he be called Dorian, Saxon or Englishman – whether his name be Jason, Hengist or Solomon Kane.’ (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 264.) It is not certain that the boots and doublet refer to Kane’s outfit, but it seems likely. The passage sets up a parallel between the legendary hero Hengist and Solomon Kane, calling out their similarity in spite of the superficial differences in clothing (wolf-hide and horned helmet versus boots and doublet) and weapons (battle-ax versus rapier). The mention of Jason at the end of the sentence mars the neatness of the parallel, but it seems fairly safe to assume that it is supposed to be Kane wearing the boots and doublet.↩
15 The young man notices that Kane’s shoes have no buckles. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.)↩
16 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 264.↩
17 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 276.↩
18 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 227.↩
19 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 264.↩
20 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 276.↩
21 In “The Moon of Skulls”, Kane’s ‘garments hung in tatters’ following the battle with Gideon’s ghost. In “Red Shadows”, Kane is wearing ‘tattered garments’ by the end of his fight with Le Loup. In “The Moon of Skulls”, Kane’s exertions once again result in ‘tattered garments’. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 10, 66 & 131.)↩
22 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 100.↩
23 He is described as carrying a pouch, large enough to hold his food and water, and it seems plausible that this is a pouch of some size, worn over his shoulder. Kane is the sort of man who keeps his hands free to use his pistols or his sword, rather than to carry bags of any description. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 232.)↩
24 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 37.↩
25 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 198.↩
26 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 198 & 225.↩
27 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 87.↩
28 “Rattle of Bones”, “The Moon of Skulls”, “The Right Hand of Doom” and “The Blue Flame of Vengeance”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 22, 75, 127, 186.)↩
29 “Skulls in the Stars” and “The Blue Flame of Vengeance”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 3 & 186.)↩
30 “Red Shadows” and “The Castle of the Devil”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 37 & 87.)↩
31 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.↩
32 This particular adjective appears in “Red Shadows”, “Rattle of Bones”, “The Hills of the Dead”, “Hawk of Basti” and “Wings in the Night”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 37, 75, 225, 264 & 276.)↩
33 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 75.↩
34 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 194.↩
35 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 181.↩
36 Jack Hollinster, regaining consciousness after being captured by one of Sir George’s thugs, momentarily mistakes the pirates’ leader for Solomon Kane. ‘Jack’s heart leaped into his mouth. Then subsided. At first glimpse he had thought this man to be Kane’. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 193.)↩
37 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 193-4.↩
38 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.↩
39 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.↩
40 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.↩
41 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.↩
42 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 123.↩
43 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 143.↩
44 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 87.↩
45 In “Skulls in the Stars”, “The Blue Flame of Vengeance” and “The Hills of the Dead”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 3, 186 & 225.) Similarly, in “The Moon of Skulls”, Kane is described as wearing ‘the somber clothes of a fanatic’, presumably a reference to the perceived fanaticism of his Puritan faith. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 127.)↩
46 F.J. Bremer, Puritanism: A Very Short Introduction, New York: Oxford University Press 2009, p. 51.↩
47 F.J. Bremer, Puritanism: A Very Short Introduction, New York: Oxford University Press 2009, p. 51.↩
48 F.J. Bremer, Puritanism: A Very Short Introduction, New York: Oxford University Press 2009, p. 51.↩
49 F.J. Bremer, Puritanism: A Very Short Introduction, New York: Oxford University Press 2009, p. 51.↩
50 P. Stubbes, The anatomie of abuses by Philip Stubbes ; reprinted from the third edition of 1585 under the superintendence of William B.D.D. Turnbull, London: W. Pickering 1836, pp. & 44.↩
51 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 186.↩
52 In “Red Shadows”, “The Blue Flame of Vengeance” and “The Hills of the Dead”. (R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, pp. 37, 186 & 225.)↩
53 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 238.↩
54 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 307.↩
55 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 349.↩
56 R.E. Howard, The Savage Tales of Solomon Kane, New York: Del Rey 2004, p. 77.↩
57 https://en.wikipedia.org/wiki/Nightshirt [accessed 19 June 2022].↩
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