Magic has long been a subject of fascination and enchantment. From ancient tales to modern-day fantasy novels, the idea of a hidden world full of spells and sorcery has captivated the human imagination. However, beneath the surface of this seemingly ethereal realm lies a murkier undertone that is not always explored or acknowledged. One aspect of this murkier undertone is the audible nature of magic. In many stories, magic is portrayed as something that can be heard, either through incantations or through the mysterious sounds that accompany its use. These sounds can range from subtle whispers to booming echoes, adding an extra layer of mystique and power to the act of casting spells.
These sounds can range from subtle whispers to booming echoes, adding an extra layer of mystique and power to the act of casting spells. The audible nature of magic serves multiple purposes in storytelling. Firstly, it creates a sense of anticipation and wonder.
THE TRANSFORMATION
“Forthwith this frame of mine was wrench’d With a woful agony, Which forced me to begin my tale, And then it set me free. “Since then, at an uncertain hour, That agony returns; And till my ghastly tale is told This heart within me burns.” —Coleridge’s Ancient Mariner. I have heard it said, that, when any strange, supernatural, and necromantic adventure has occurred to a human being, that being, however desirous he may be to conceal the same, feels at certain periods torn up as it were by an intellectual earthquake, and is forced to bare the inner depths of his spirit to another. I am a witness of the truth of this. I have dearly sworn to myself never to reveal to human ears the horrors to which I once, in excess of fiendly pride, delivered myself over. The holy man who heard my confession, and reconciled me to the Church, is dead. None knows that once— Why should it not be thus? Why tell a tale of impious tempting of Providence, and soul-subduing humiliation? Why? answer me, ye who are wise in the secrets of human nature! I only know that so it is; and in spite of strong resolve,—of a pride that too much masters me—of shame, and even of fear, so to render myself odious to my species,—I must speak. Genoa! my birthplace—proud city! looking upon the blue Mediterranean—dost thou remember me in my boyhood, when thy cliffs and promontories, thy bright sky and gay vineyards, were my world? Happy time! when to the young heart the narrow-bounded universe, which leaves, by its very limitation, free scope to the imagination, enchains our physical energies, and, sole period in our lives, innocence and enjoyment are united. Yet, who can look back to childhood, and not remember its sorrows and its harrowing fears? I was born with the most imperious, haughty, tameless spirit. I quailed before my father only; and he, generous and noble, but capricious and tyrannical, at once fostered and checked the wild impetuosity of my character, making obedience necessary, but inspiring no respect for the motives which guided his commands. To be a man, free, independent; or, in better words, insolent and domineering, was the hope and prayer of my rebel heart. My father had one friend, a wealthy Genoese noble, who in a political tumult was suddenly sentenced to banishment, and his property confiscated. The Marchese Torella went into exile alone. Like my father, he was a widower: he had one child, the almost infant Juliet, who was left under my father’s guardianship. I should certainly have been unkind to the lovely girl, but that I was forced by my position to become her protector. A variety of childish incidents all tended to one point,—to make Juliet see in me a rock of defence; I in her, one who must perish through the soft sensibility of her nature too rudely visited, but for my guardian care. We grew up together. The opening rose in May was not more sweet than this dear girl. An irradiation of beauty was spread over her face. Her form, her step, her voice—my heart weeps even now, to think of all of relying, gentle, loving, and pure, that she enshrined. When I was eleven and Juliet eight years of age, a cousin of mine, much older than either—he seemed to us a man—took great notice of my playmate; he called her his bride, and asked her to marry him. She refused, and he insisted, drawing her unwillingly towards him. With the countenance and emotions of a maniac I threw myself on him—I strove to draw his sword—I clung to his neck with the ferocious resolve to strangle him: he was obliged to call for assistance to disengage himself from me. On that night I led Juliet to the chapel of our house: I made her touch the sacred relics—I harrowed her child’s heart, and profaned her child’s lips with an oath, that she would be mine, and mine only. Well, those days passed away. Torella returned in a few years, and became wealthier and more prosperous than ever. When I was seventeen, my father died; he had been magnificent to prodigality; Torella rejoiced that my minority would afford an opportunity for repairing my fortunes. Juliet and I had been affianced beside my father’s deathbed—Torella was to be a second parent to me.
@ wollstonecraftshelley
Mary Wollstonecraft Shelley
Receive Stories from @ wollstonecraftshelley
Mary Wollstonecraft Shelley
The mere sound of a spell being spoken can evoke a sense of awe in the listener, setting the stage for a magical experience. It also adds a sense of realism to the fictional world, making it tangible and immersive. Furthermore, the audible nature of magic can be used to convey the nature of the magic itself. For instance, a soft, melodic incantation might symbolize benevolent magic, while a harsh, guttural chant could imply darker forces at work. These auditory cues help the audience understand the intentions and impact of a spell even before its effects are revealed. However, there is a deeper, more unsettling aspect to the audible nature of magic. Beneath the enchanting sounds lies the darker implication that magic is not always benevolent or harmless. Just as the sound of a creaking door can foreshadow danger, the audible nature of magic hints at a power that may not always be used for good. In some stories, the audible nature of magic is associated with hidden rituals and secret societies. This suggests that there are dark corners of the magical world where power is wielded for personal gain or to manipulate others. The sounds of these forbidden practices serve as a warning, reminding the audience that magic, like any power, has the potential for corruption and harm. In conclusion, the audible nature of magic adds an additional layer of depth and intrigue to stories involving the supernatural. By exploring the sounds associated with magic, authors can create a more immersive and realistic world for their readers. However, beneath this enchanting veneer lies a murkier undertone, suggesting that magic is not always benevolent and harmless. The sound of magic serves as a reminder of the potential dangers and ethical implications that come with wielding such power..
Reviews for "The Unseen Harmonies of Cursed Spells and Sorcery"
1. John - 2 stars - I was really disappointed with "A Murkier Undertone of Magic" on Audible. The story felt confusing and the characters were not well developed. It was hard for me to connect with any of them. The narration also felt flat and lacked excitement. Overall, I found the book to be lacking in depth and substance, and it didn't live up to my expectations.
2. Sarah - 1 star - I couldn't even finish "A Murkier Undertone of Magic" on Audible. The plot was convoluted and hard to follow, and the pacing was incredibly slow. The writing was dull and full of clichés, and the dialogue felt forced and unnatural. I couldn't find any redeeming qualities in this book and would not recommend it to anyone looking for a good fantasy read.
3. Emily - 2 stars - "A Murkier Undertone of Magic" fell flat for me. The world-building was weak and inconsistent, and the magic system was poorly explained. The characters were one-dimensional and lacked depth, making it hard for me to care about their fates. The story dragged on with unnecessary subplots, and the ending was unsatisfying. Overall, this book did not capture my attention or interest, and I was left disappointed.