The magic circle tropes license#

Practitioners of some branches see their practices as having very little in common with other branches. In occult and esoteric circles, 'magic' can take a wider meaning involving spiritual change. In common usage, magic evokes some sort of change in the physical world through non-scientific means. The term magic derives from the Greek 'magicke' and the first time it appears in print is in the title of a now-lost work attributed to Aristotle (384–322 BCE), and it specifically referred to the art and craft of Zoroastrian priests from Persia.Īs it did for the Persian priests, modern magic involves behaviors, actions, and methods intended to interact with and influence the supernatural world, usually involving the use of an occult or secret body of knowledge-but the boundaries that define what is religion and what magic are variable, and to an extent are set by a practicing sect or even an individual. In the scholarly sense of the word, magic is a continuum of practices that run from small-scale informal ritual acts to large-scale events in sacred buildings, both inside and outside of sanctioned religions.

The magic circle tropes license#

This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA).Religious practitioners of contemporary Western paganism recognize multiple types of magic, but all of the types have an underlying concept in common. This is one of Waterhouse's earlier works, and reflects his fascination with the exotic. His oeuvre also includes a number of middle-eastern subjects, in which he drew on the work of contemporary artists such as J.F Lewis (1805–76) and Lawrence Alma-Tadema (1836–1912), rather than on actual experience. More specifically, the notion of woman as enchantress is one that recurs in images such as Circe Offering the Cup to Ulysees (1891, Oldham Art Gallery) and Hylas and the Nymphs (1896, Manchester City Art Gallery). Miracles, magic and the power of prophecy are common themes in Waterhouse's art. Unlike Frederick Sandys' portrayals of sorceresses, such as his Medea (1868) or Morgan le Fay (1864), Waterhouse chose to make his witch's face intent and intriguing, as opposed to malevolent. The witch wears a similar dress to Miranda and her face can also only be seen in profile. The Magic Circle is similar in composition to Waterhouse's later picture, Miranda (1916), also a woman associated with magic. A live snake ouroboros loops around the woman's neck. Instead of billowing outwards or being affected by the wind, it remains in a straight line. The witch's power is emphasised by the determined face, by her exclusion of the ravens and frog – popular symbols representing magic – and by her command over the smoke pillar. Waterhouse paid careful attention to the angles employed in this work, balancing the circle the figure is drawing around herself by the use of a triangle – her straight arm, extended by the straight stick, held out at 25 degrees to her erect body. The surrounding landscape is hazy, as though it is not quite real, and the background figures are only discernible on close inspection, deliberately ensuring the witch is the only image of importance. In a style typical of Waterhouse, the main character is a lone, female figure, placed centrally on the canvas. The painting was extremely successful with the critics and public alike. The painting was well received at its exhibition, and was purchased for £650 the same year by the Tate Gallery, through the Chantrey Bequest.

Eulalia, was Waterhouse's third exhibit with a supernatural theme in as many years. The Magic Circle was shown at the Royal Academy in 1886, and, after Consulting the Oracle and St.

The painting depicts a witch or sorceress drawing a fiery magic circle on the earth to create a ritual space. The Magic Circle is an oil painting in the Pre-Raphaelite style, created in 1886 by John William Waterhouse.