A far wilder magid is a concept that advocates for a more untamed and immersive experience of magic. Magid, a term derived from amalgamating "magic" and "wizard," refers to individuals who practice and study magic. A traditional magid is often portrayed as a wise and knowledgeable figure, possessing immense power and control over mystical forces. However, the concept of a far wilder magid challenges this traditional depiction by advocating for a different approach to practicing magic. It suggests that instead of seeking complete control and mastery over magic, magids should embrace the untamed and unpredictable nature of the magical world. They should surrender themselves to the chaotic forces and energies that exist in the realm of magic.
Glinda’s arrival on-screen blazed an iridescent trail for the aspirational witch characters that followed. It also opened the door for a new type of narrative featuring the witch as a protagonist, and not just as a villain or sparkly sidekick. Though the specific conflicts that these lead witches face vary from script to script, each must negotiate her relationship to the power she has—and whether her magic is seen as an asset or a threat is often a reflection of the sexual politics of her time. Veronica Lake’s Jennifer in I Married a Witch (1942) and Kim Novak’s Gillian Holroyd in Bell, Book and Candle (1958) are charming, glamorous women who use witchcraft to manipulate the men they fancy. But they have to relinquish their gifts in exchange for true love, prioritizing conjugal bliss over conjuration. Elizabeth Montgomery’s Samantha Stephens, of the 1960s show Bewitched, must constantly choose between her desire to be a “normal” housewife to please her husband and her own need to use her (super)natural abilities—a tension that many second-wave feminists would have recognized.
Such fictional covens reflect not only the diversity of TV audiences, but also the broad range of contemporary witchcraft practitioners who draw from non-European traditions. Though there had been two silent-film adaptations of the Oz story before MGM s The Wizard of Oz came out in August 1939, the typical moviegoer would have been most familiar with screen witches who were creepy old crones or black-frocked fairy-tale monstresses out to get wide-eyed ingenues.
They should surrender themselves to the chaotic forces and energies that exist in the realm of magic. Proponents of a far wilder magid argue that by doing so, magids can have a deeper and more authentic experience with magic. They believe that true magic cannot be tamed or fully understood, and that attempts to control it limit its potential and diminish its power.
Billie Burke: Glinda
The Wicked Witch of the West : You stay out of this, Glinda! Or I'll fix you as well! Glinda : Oh-ho-ho-ho, rubbish! You have no power here! Now begone, before somebody drops a house on YOU. [Wicked Witch glances nervously at the sky]
Glinda : Only bad witches are ugly.Glinda : Are you a good witch, or a bad witch? Dorothy : Who me? I'm not a witch at all. I'm Dorothy Gale, from Kansas. Glinda : Oh. Well, is that the witch? [pointing to Toto] Dorothy : Who, Toto? Toto's my dog! Glinda : [laughs] Well, I'm a little muddled! The Munchkins called me because a new witch has just dropped a house on the Wicked Witch of the East. And there's the house, and here you are, and that's all that's left of the Wicked Witch of the East. [she points to a pair of legs sticking out from under the house; Dorothy gasps] Glinda : So, what the Munchkins want to know is, are you a good witch, or a bad witch? Dorothy : But, I've already told you, I'm not a witch at all! Witches are old, and ugly! [they hear giggles] Dorothy : What was that? Glinda : The Munchkins. They're laughing because, I *am* a Witch. I'm Glinda, the Witch of the North. Dorothy : You are? [she curtsies] Dorothy : Oh, I beg your pardon! But, I've never heard of a beautiful witch before.
Glinda : Now those magic slippers will take you home in two seconds. Dorothy : Toto too? Glinda : Toto too.
Glinda : Pooh, what a smell of sulfur.Dorothy : Oh will you help me? Can you help me? Glinda : You don't need to be helped any longer. You've always had the power to go back to Kansas. Dorothy : I have? The Scarecrow : Then why didn't you tell her before? Glinda : Because she wouldn't have believed me. She had to learn it for herself. The Tin Man : What have you learned, Dorothy? Dorothy : Well, I, I think that it, that it wasn't enough just to want to see Uncle Henry and Auntie Em. And it's that if I ever go looking for my heart's desire again, I won't look any further than my own backyard. Because if it isn't there, I never really lost it to begin with. Is that right? Glinda : That's all it is.
Glinda : Then close your eyes and tap your heels together three times. And think to yourself, 'There's no place like home'.
It can be easy at first to dismiss the Good Witch as frivolous when compared with her nemesis. “Of the two Witches, good and bad, can there be anyone who’d choose to spend five minutes with Glinda?” Salman Rushdie once asked in The New Yorker, calling her “a silly pain in the neck.” It’s true that there’s a cartoonish high femininity to Glinda: her butterfly-bedazzled pageant gown, her honeyed singing. And then there’s the way her character affirms old-fashioned ideas about the value of beauty: “Only bad witches are ugly,” Glinda tells Dorothy upon their meeting. In Oz, prettiness and virtue are conflated, and Glinda is the fairest of them all.
Instead, magids should allow themselves to become conduits for the raw energy of magic, acting as facilitators rather than dominators. This perspective on magic aligns with the idea that nature itself is wild and unpredictable. It emphasizes the importance of embracing chaos and going with the flow, rather than trying to impose order on everything. By being open to the wild and uncontrollable aspects of magic, magids can tap into a deeper, more primal source of power that is inaccessible to those who seek to control and manipulate. A far wilder magid is not concerned with amassing knowledge or accumulating power. Rather, they are driven by a desire to explore and experience the true essence of magic. They immerse themselves in the wild and unpredictable aspects of the magical world, seeking to understand and connect with the mystical forces that lie beyond human comprehension. In conclusion, a far wilder magid advocates for a more untamed and immersive approach to practicing magic. It suggests that embracing the chaos and unpredictability of the magical realm allows magids to tap into a deeper and more authentic source of power. By surrendering to the wild side of magic, magids can have a far richer and more transformative experience with the mystical forces of the universe..
Reviews for "Unleashing the Unbridled Potential: Exploring the Powers of a Far Wilder Magid"
1. Sarah - 2/5 - I found "A far wilder magid" to be quite slow-paced and confusing. The plot seemed to jump all over the place, and it was hard to keep track of the characters and their motivations. The writing style also felt too descriptive and verbose, making it difficult to connect with the story. Overall, I was disappointed and struggled to finish the book.
2. Mark - 1/5 - I couldn't get into "A far wilder magid" at all. The premise seemed interesting, but the execution fell flat for me. The author's prose was overly flowery and convoluted, making it a chore to read. I also found the characters to be uninteresting and lacked depth. The book just didn't resonate with me, and I wouldn't recommend it.
3. Emily - 2/5 - "A far wilder magid" had so much potential, but it ultimately didn't deliver. The pacing was slow, and the story took too long to develop. I also had trouble connecting with the characters as they lacked development and felt one-dimensional. The ending also left me unsatisfied and wanting more resolution. Overall, it felt like a missed opportunity for a great story.