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Magic In The Odyssey

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The link between magic and song was widely recognized in antiquity. Besides the fact that several literary texts, from Homer’s time and on, can enrich our knowledge of ancient Greek magical practice, there are also fragments of literary texts which contain a specific kind of magical language, the language of curses. Curses (ἀραί or κατάραι) were utterances consigning, or supposed or indented to consign, (a person or a thing) to spiritual and temporal evil, the vengeance of the deity, the blasting of malignant fate. Cursing was well-diffused in ancient Greece. Although the material evidence for the existence of this practice (the defixiones or curse-tablets) comes from the Hellenistic times and on, this seems to have been a very old practice. …show more content…

In Iliad 14 (lines 216ff) Hera uses a magical object, Aphrodite’s girdle, in order to seduce Zeus. In Odyssey 10, Circe is described to practice magic. Circe tames beasts, makes Odysseus’ comrades to forget their land by using potions and she transforms them into pigs by using her wand (lines 210-243). Ill-willed incantations and dark magic are not unknown to the composer of the Homeric Hymn to Demeter. There the goddess assures Metaneira that she can protect her son against dark magic (lines 227-230). In Pindar’s Pythian 4 (lines 213-19) Pindar describes Jason’s spell to Medea. Deineira in Trachiniai (lines 584-85) attempts to win back her husband with love potions and spells. Lastly, Plato informs us at two instances that there were people in classical Athens who claimed that they could control the gods according to their will (Republic 364c) and that the state should try to contain all those who practice poisons and spells (Laws 933a). There is also evidence coming from the tragic and comic stage, at least according to some modern scholars: Clytemnestra’s speech in Agamemnon (lines 958-974) may have had magical associations. McClure believes that the lines 973-974 were modeled on traditional closing formulas of magical incantations. Clytemnestra’s speech is full of metaphors of death, and very rich in stylistic features as repetition, alliteration and assonance. It is highly possible that its language is related to magic. Faraone finds similarities between Furies’ binding song in Eumenides 306 and Attic juridical curse tablets. Aristophanes’ Amphiarus fragment 29, which has been interpreted as an oracular response, is possible to reflect the closing lines of a traditional magical incantation. It is easy to discern that ancient Greek society does not necessary try to hide the fact that magic

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