Magic is a concept that has captured human imagination for centuries. It is often associated with supernatural abilities and the manipulation of reality. It is commonly depicted in folklore, myths, and legends as the invocation of supernatural forces to achieve extraordinary feats. Magic can be seen as something mysterious and inexplicable, challenging the boundaries of our everyday understanding of the world. It is often portrayed as a form of entertainment, performed by magicians and illusionists, who use clever tricks and deception to create a sense of wonder and astonishment. However, magic also has deeper implications and symbolism.
Crowley recognized that the invocation of entities through magick was an inherent part of our psyche. In his Introduction to Lemgeton Clavicula Salomonis he explicitly states, “the spirits of Goetia are part of the human brain.”
Yeats, and where he got to learn the Hermetic corpus of Western magic, especially what is known as Salomonic magic derived from King Solomon s method, and supposedly used to summon the spirits that helped him build his temple. First recorded in 1350 1400; Middle English magik e witchcraft, from Late Latin magica, Latin magicē, from Greek magikḗ, noun use of feminine of magikós magical ; see Magus, -ic.
However, magic also has deeper implications and symbolism. In many cultures, it is associated with spiritual practices, rituals, and beliefs. It is often connected to the idea of connecting with unseen forces and harnessing their power for various purposes, such as healing, protection, divination, and transformation.
What is Magic? Aleister Crowley Explains
During a time when the prevailing concept of magic was starting to be regarded as a mere spectacle; as a series of tricks and illusions meant for children, multifaceted British occultist Aleister Crowley got to be known as the Last Great Magus of the West.
Crowley was a member of many secret societies, including the renowned Golden Dawn, a place that harbored members as brilliant as Irish poet W.B. Yeats, and where he got to learn the Hermetic corpus of Western magic, especially what is known as Salomonic magic (derived from King Solomon’s method, and supposedly used to summon the spirits that helped him build his temple).
Salomonic magic, often referred to as black magic, posits a complex system for the invocation of angels and demons, and for achieving changes in nature by operating through them. This is the sort of magic that is often represented by the use of spells, incantations and rites.
The enochian language, or “language of the angels”, the Kabbalah, the Goetia, the sigils and other oracular systems such as the runes, comprise the theoretical basis for articulating an intention and its operative resonance in nature. Curiously, however, all this arcane science did not figure into what Crowley himself considered true magick —if anything, he encouraged his pupils to learn all the theory they could only to get rid of it later. For him, magick was fundamentally a psychological system meant to conduct human will towards a complete command over his individuality.
Crowley recognized that the invocation of entities through magick was an inherent part of our psyche. In his Introduction to Lemgeton Clavicula Salomonis he explicitly states, “the spirits of Goetia are part of the human brain.”
He named his system “Thelema”, which means will. And will, as in Schopenhauer’s and Nietzsche’s philosophies, is at the center of his model of nature. Intention, just like concentration or directed flight, is one of the most recurring themes in Crowley’s vision of magick.
Magic, as he explains, is the “Science and Art that provokes Change in conformity with the Will”, and that “all intentional acts are acts of magic.” So, like Schopenhauer, Crowley noted that will had the agency to merge with the primordial flow of the universe —So, in order to act upon nature all that was needed was to channel that will together with intention.
The magus maintained that human beings, by nature, have the capacity to produce changes in their environment, and that the only requirement to prompt this was to follow one´s own path; that is, to do as we wish. In his book Magick in Theory and Practice, Crowley explains:
“Anyone who is forced from his own course, either through not understanding himself, or through external opposition, comes into conflict with the order of the Universe.” He goes on to say that “Magick is the Science of understanding one’s self and one’s own situation. It is the art of applying this knowledge in action.” It seems almost as if his definition of magic could have come from a psychology manual on the importance of self-knowledge.
The secret of Crowley’s system, based on individuality and self-knowledge; or better, on the practice of individuality and self-knowledge, lies in the belief that the individual is a microcosmic image of the universe (or of God). Therefore, if someone applies this understanding by using his intention, he will be using the intention of the universe.
This is, perhaps, how magic operates.
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The concept of magic varies across cultures and traditions. For example, in Western traditions, magic is often seen as separate from religion and is sometimes associated with witchcraft and occult practices. In contrast, in some indigenous cultures, magic is inherently intertwined with spirituality and is regarded as an integral part of daily life, connecting individuals to the natural world and the supernatural realm. In contemporary society, magic is often viewed with skepticism and skepticism, with many considering it nothing more than an illusion or a trick. However, the allure and fascination with magic persist, as it taps into our innate desire for wonder, possibility, and the unknown. Magic serves as a form of escapism, providing a temporary suspension of disbelief and offering a glimpse into an alternative reality where anything is possible. Ultimately, the definition of magic is subjective and open to interpretation. Whether as an art form, a spiritual practice, or a source of entertainment, magic continues to captivate audiences and inspire a sense of awe and wonder..
Reviews for "The Role of Comedy in Magic: From Vaudeville to Stand-Up Comedy Magicians"
- John D. - 1/5 stars - I did not enjoy reading "What is magic". I found the plot to be uninteresting and predictable. The characters were one-dimensional and lacked depth. The writing style was also quite bland and did not captivate my attention. Overall, I was disappointed with this book and would not recommend it.
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- David G. - 2/5 stars - As someone who enjoys fantasy novels, I was excited to read "What is magic". However, I was left disappointed. The world-building was shallow, and the magic system lacked depth and coherence. The protagonist's motivations were unclear, and it was challenging to root for their success. The writing style was also inconsistent, with moments of beautiful prose followed by awkward and clunky descriptions. Overall, this book did not meet my expectations.