The encounter of Odysseus with the Titan Circe November 4, 2008
Posted by egabriel in History of Magic.Tags: act, ancient, beautiful, books, companions, components, control, culture, dangerous, definition, description, distance, divine, fact, figure, form, greek, herb, history, island, literature, magical, operation, practice, secret, secretive, story, wand, woman
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As a web analyst, who completed many types of research on ancient history, I think that the earliest description of a magical operation in Greek literature was on The Odyssey. This is one of my favorite books. In the Odyssey we meet a definition of magic as a practice aimed at trying to locate and control the secret forces of the world. The Odyssey describes the encounter of Odysseus with the Titan Circe. In the story Circe’s magic consists in the use of a wand against Odysseus and his men while Odysseus’ magic consists of the use of a secret herb called moly to defend himself from her attack. All three necessary components are present: the magic wand, the use of a magical herb and Hermes, the divine figure that reveals the secret of the magical act.
In the story Circe is presented as being in the form of a beautiful woman when Odysseus meets her on an island. In this encounter Circe uses her wand to change Odysseus’ companions into swine. This suggests that magic is often associated with practices that go against the natural order, or against wise and good forces. Circe too is representative of a power that had been conquered by Zeus, Poseidon and Hades.
Furthermore she had been banished to the island after having murdered her husband. She is thus quite dangerous: secretive, opposed to the gods, a semi-divine power left over from the older god culture of the Titans. However the internal fact that Odysseus has first to visit her before she becomes a threat suggests that she has a relatively harmless power if one keeps to a distance.
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Horrors and powers of witchcraft November 4, 2008
Posted by egabriel in History of Magic.Tags: audience, claims, concept, constellation, controlling, cosmos, destruction, future, hating, horrors, influencing, knowledge, magic, magical, power, practices, spells, texts, version, witch, witchcraft, works
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In Seneca’s version Medea’s power of hating, which she can switch on and intensify at will is still the dominant theme, but Medea is now given a full cupboard of horrors from which to select the most efficient means of magical destruction. Her magic can even, apparently affect the cosmos, as she claims that she can force down the constellation of the Snake.
Seneca’s nephew Lucan in his work surpassed his uncle in portraying the horrors and powers of witchcraft. In his play, just before the decisive battle of Pharsalus, in which Julius Caesar defeats the forces of Pompey, the two armies are moving through Thessaly, the country of witchcraft in Lucan’s work. Here one of Pompey’s sons consults a famous witch called Erictho about the outcome of the future battle. Erictho is the most powerful of witches, and because she is so powerful she is presented as being quite loathsome and disgusting. Such are her powers that she can even compel some of the lesser gods to serve her and even cause them to shudder at her spells. As exaggerated as these plays are they demonstrate knowledge of magical practices found in the Greek magical texts. These works also shows that Roman audience must have easily understood the concept of magic in a negative sense but also in the sense of being a practice aimed at influencing or controlling the forces of the cosmos, even the gods themselves.
Jealous wives November 4, 2008
Posted by egabriel in History of Magic.Tags: belief, charm, concept, concoction, condemnation, connotations, curse, despair, dramatic, evil, examples, fearfulness, hero, jealous, love, magic, means, mythical, myths, necromancy, power, suicide, theme, tradition, treatment, view, witch, wives, writings
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However Dido soon comes to realize that the love magic is not powerful enough to bring Aeneas back to her. So she kills herself in her despair, which adds to the power to her curse. Dido had sealed and extended her curse through her suicide. Aeneas was protected by his gods and remained safe. But, according to Virgil, Dido’s use of magic and her curse lingered on leading to Rome’s near crushing defeat by Carthage many centuries later. This demonstrates quite clearly that the Romans shared the Greek’s view of magic as being dangerous and untrustworthy.
The Romans in fact went further then the Greeks in their condemnation and fearfulness that they generate around their concept of magic. Some examples of are found in the writings of Seneca, the philosopher and playwright, and his nephew, Lucan. Seneca selects some of the most gruesome Greek myths for dramatic treatment and he greatly adds to the negative connotations already applied to the theme of magic, necromancy and the like – where it is given by the mythical tradition and sometimes even where there is little negativity indicated towards magic. From dialogue between wife of the Hercules Deineira and her nurse we learn that it is quite common for jealous wives to consult a witch. It turns out, the nurse, very conveniently, is a witch herself. A great hero such as Hercules should not be able to be influenced by magical means, but in the end he is overcome by the deadly concoction that the evil magic user passes on to Hercules, through deceiving Deianira into the belief that she is giving Hercules a love charm.
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Traveling hero meets a beautiful female November 4, 2008
Posted by egabriel in History of Magic.Tags: ancient, ceremony, complex, conflict, dangerous, dealing, epic, hate, hero, literature, love, magic, magical, myths, poet, powers, pyre, ritual, roman, sacrifice, underworlds, wishes
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Much of ancient Roman literature dealing with magic are, basically, retellings of Greek myths. Roman poet Virgils’s Aeneid for example describes an interestng magical ceremony. The hero of the epic, Aeneas, who has landed on the coast of North Africa after fleeing from Troy, meets Queen Dido. She has just begun to build the city of Carthage. Dido falls in love with Aeneas, and wishes him to stay as her prince consort. The rest of what happens is easy to imagine. As usual, a traveling hero meets a beautiful female who is potentially dangerous, although kind and hospitable as long as her love for the hero lasts.
Thus the future conflict is set when goddess Fate decrees that Aeneas leave Dido to found a city of his own. Inevitably Dido’s love turns to hate. Enraged queen seeks to use a complex magical ritual to bring her former lover back to her. She builds a gigantic pyre in the main courtyard of her palace and prepares an elaborate sacrifice to the powers of the underworld.
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Direct evidence November 4, 2008
Posted by egabriel in History of Magic.Tags: affiliations, amulets, ancient, base, bronze, city, conclusion, dish, elements, evidence, forms, formulas, incantations, kit, letters, magic, magical, mixture, nail, papyri, period, permanence, powers, practices, remains, rings, rituals, scientists, spells, stones, Supernatural, symbols, table, testimonies, tools, type, universality
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Thus amulets were actually often a mixture of various formulas from Babylonian, Egyptian, and Greek elements that were worn by those of most affiliations so as to protect against other forms of magic. It is interesting to note that amulets are actually often abbreviated forms of the formulas found in the magical papyri.
Magical tools were thus very common in magical rituals. They were just as important as the spells and incantations that were repeated for each magical ritual. Direct evidence of this – a magician’s kit, probably dating from the third century CE, was discovered in the remains of the ancient city of Pergamon in Asia Minor. The find consisted of a bronze table and base covered with symbols, a dish, a large bronze nail with letters inscribed on its flat sides, two bronze rings, and three black polished stones inscribed with the names of supernatural powers. What emerges then, from this evidence, is the conclusion that a type of permanence and universality of magic had developed in the the Hellenistic period if not earlier. Most scientists agree that although many testimonies about magic are relatively late, the practices they reveal are much older.
