Like its counterpart white magic, the origins of black magic can be traced to the primitive, ritualistic worship of spirits as outlined in Robert M. Place's 2009 book, Magic and Alchemy. Unlike white magic, in which Place sees parallels with primitive shamanistic efforts to achieve closeness with spiritual beings, the rituals that developed into modern "black magic" were designed to invoke those same spirits to produce beneficial outcomes for the practitioner. Place also provides a broad modern definition of both black and white magic, preferring instead to refer to them as "high magic" (white) and "low magic" (black) based primarily on intentions of the practitioner employing them. He acknowledges, though, that this broader definition (of "high" and "low") suffers from prejudices because good-intention ed folk magic may be considered "low" while ceremonial magic involving expensive or exclusive components may be considered by some as "high magic", regardless of intent.
See also: Renaissance magic
During the Renaissance, many magical practices and rituals were considered evil or irreligious and by extension, "black magic" in the broad sense. Witchcraft and non-mainstream esoteric study were prohibited and targeted by the Inquisition. As a result, natural magic developed as a way for thinkers and intellectuals, like Marsilio Ficino, abbot Johannes Trithemius and Heinrich Cornelius Agrippa, to advance esoteric and ritualistic study (though still often in secret) without significant persecution.
While "natural magic" became popular among the educated and upper classes of the 16th and 17th century, ritualistic magic and folk magic remained subject to persecution. 20th century author Montague Summers generally rejects the definitions of "white" and "black" magic as "contradictory", though he highlights the extent to which magic in general, regardless of intent, was considered "dark" or "black" and cites William Perkins posthumous 1608 instructions in that regard:
Comments
Post a Comment