Necromancy: The Dark Art of Summoning The Dead - (Exploring Magic Ep.1)

Mythology & Fiction Explained10 minutes read

Magic in fiction often explores the dichotomy of light and dark practices, with necromancy specifically focusing on communicating with the dead, originating from Greek and Roman rituals like Nekyia. Throughout history, necromancy has been depicted in various forms, condemned by the church in medieval Europe, and portrayed as villainous in modern works like Tolkien's, Mortal Kombat, and Harry Potter.

Insights

  • Necromancy, a type of magic involving communication with the dead, has a rich history dating back to Greek and Roman practices, with rituals like Nekyia for divination purposes.
  • Throughout history and in modern fiction, necromancy has been consistently portrayed in a negative light, associated with dark practices, condemned by the church, and often depicted as villainous characters in popular works like Tolkien's, Mortal Kombat, and Harry Potter.

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Recent questions

  • What is necromancy?

    The practice of communicating with the dead.

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Summary

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Exploring Necromancy: Magic, Rituals, and Condemnation

  • Magic is a common element in fiction, often portraying light and dark, good and evil practices.
  • The focus of the video is on necromancy, a form of magic involving communication with the dead.
  • Necromancy originated from Greek and Roman practices, with rituals like Nekyia involving summoning the dead for information about the future.
  • Homer's Odyssey depicts necromancy through Circe raising the dead, advising Odysseus to perform a ritual to gain knowledge.
  • Necromancy rituals varied, sometimes involving animal sacrifice, wearing deceased's clothing, and using talismans and wands.
  • Necromancy was condemned by the church in medieval Europe, equating it to witchcraft and demon-raising.
  • Modern examples of necromancers include Sauron from Tolkien's works, Shang Tsung and Quan Shi hoo from Mortal Kombat, and Lord Voldemort from Harry Potter, often depicted as villains.
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