Second-class power December 22, 2008
Posted by egabriel in History of Magic.Tags: ability, beasts, changes, chapter, charms, companion, epic, future, gods, hero, instructions, knowledge, magic, motif, power, secret, shades, tradition, transform, wisdom
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Magic then is a second-class power, it does not compare to the powers of tradition or of the gods. It has to work in secret to achieve its ends. So, although Circe changes Odysseus’ companions into swine, she has no power over Odysseus himself. Magic is defeatable by other magic. And Odysseus’ magic is more acceptable because a legitimate god confers the wisdom of its use to Odysseus. However, Hermes, can’t protect Odysseus from Circe’s physical charms, and the hero does eventually succumbs to the power of the magic user.
This represents the idea that users of magic are not to be trusted because of the powers they are prepared to pursue and use. This is indicated by the fact that Circe can not only transform men into beasts but is also able to predict the future. This ability is linked in with another magical motif of the Odyssey epic, described in later chapter of the book. Following Circe’s instructions, Odysseus digs a trench, pours out an offering to the dead a drink that consists of honey, milk, wine and water, and slaughters two black sheep in such a way that their blood runs into the ditch. This attracts the shades of the dead in flocks and by drinking the blood they regain, for a short time, the ability to communicate with the living and pass on their knowledge of the future.
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.
