THE |
|
a cache of usenet and other text files pertaining
to occult, mystical, and spiritual subjects. |
To: alt.magick.tyagi,alt.magick,alt.occult,alt.magic,talk.religion.misc From: tyagi@houseofkaos.abyss.com (nagasiva) Subject: Magic and Magick (LONG quotes from _Net of Magic_, by Lee Siegel) Date: 28 Feb 1998 19:15:54 -0800 49980129 aa2 Hail Satan! excerpts from _Net of Magic_: Make obeisance to the feet of Indra, whose name is one with magic, and to the feet of Shambara, whose glory was firmly established in illusions. That is how the magic show begins. It is the invocatory stanza recited with uncanny laughter and the mannered flourish of a peacock-feather wand by the magician Sarvasiddhi as he appears in the court of the king of Kausambi in the *Ratnavali*, a Sanskrit romanic melodrama by Harshavardhana (seventh century). Asking the monarch what effect, trick, or illusion would be his pleasure to witness -- "the moon on earth? a mountain in the sky? fire in water? darkness at noon?" -- the magician boasts of a power to conjure up any world the king might wish to behold: "I shall cause Indra, the ruler of the gods, to be seen in the sky. You'll see the other gods too, headed by Brahma, Vishnu and Shiva. And that's not all -- you'll have a vision of heavenly magicians, celestial singers, and nymphs of paradise, all dancing around you." (Act 4) ... In his incarnation as the street conjurer, the ethereal *escamoteur* wanders, as he has done for centuries, from village to village, stopping here and there to lure a circle of people, hungry for diversion, with the curious call of his flute and damaru drum, hourglass-shaped like the one the god plays. The magic has hardly changed at all: a cloth ball, red or yellow, under this coconut-shell cup disappears only to reappear under that one; stones, one after another after another, larger and larger, appear from the magician's mouth, and then there are thorns and nettles, then meters of brightly colored thread, and then more dark and heavy stones; a borrowed shawl, visibly torn into shreds before the wide eyes of its dismayed owner, is suddenly, after the wave of a magic wand, a puff of magic breath, the muttering of magic words -- *gilli-gilli-gilli* or *yantru-mantru-jalajala-tantru* -- made whole again before the even wider eyes of the amazed, laughing, or grimacing gathering; a mango seed, in a matter of miraculous moments, grows into a green, burgeoning bush that, to the astonishment of all, puts forth sweet, swollen fruit; a scruffy boy, the magician's son, is decapitated, or dismembered, or perhaps his tongue is cut from his mouth, and his blood, rich red with life, seeps into the earth they know, and then -- how is it possible? -- the child is healed, made whole, and there is genuine awe. Wonder- struck by the powers of the magician, the villagers, with their own secret hopes, fears, and desires, buy his rings and amulets, momentos of his magic, pieces of strange power. Two rupees, five rupees, eight rupees. ... "*Jadugar*! *Jadugar*!" someone calls out, "Magician! Magician! Come! Watch!" "*Jagu*!" they shout or whisper -- "Magic! *Jadu*!" The Hindi word for that entertainment is tinged with the dark meanings of the Sanskrit term from which it comes: *yatu*, "sorcery, witchcraft, black magic, the powers and practices of evil spirits." The magician calmly capitalizes on the associations -- a touch of fear might prod the astounded to reach into their pockets if there's money there. ... They are born to what they do. As blood members of a Muslim low caste, Maslets, bound together by a secret language and secrecy itself, they are trained in magic from infancy. The boys perform with their fathers until they are old enough to go out on their own, taking a little brother or cousin along -- no one plays the magic show alone. The girls perform -- handle the snakes, are stuffed into baskets, have swords passed through their necks -- until they are women; then they are expected to bear new conjurers, nourish them, and teach them ancient secrets. ... The modern stage magician, his court a theater, his patron anyone with a few rupees for a ticket, calls his magic *Maya*, *Mayajal*, or *Indrajal*: "Illusion," "Illusion's Net," or "Indra's Net" -- ancient terms for magic in India meant to distinguish it from the *jadu* of the streets.... The Net of Magic now seems tattered in his hands. "Now people want to go to films or watch television," the magician sadly said to me. "We're something from the past." In him the past yearns to be present, glorious and potent. He remembers when the magician was a priest and magic a sacred rite. "The magician was a god on earth," the illusionist told me in his dressing room, "and God was a magician in heaven. That is what our scriptures say." The wise Shvetashvatara told it to ascetics in a forest retreat: "A magician creates this world by magic. ... Nature is an illusion and the Lord is the illusionist; the things of this world are but elements of him" (*Svetasvatara Upanisad* 4.9-10). That magician, whose magic show is this whole world, works with five elements -- fire, air, water, earth, and pervading ether -- combining them in a certain way so that things appear to appear, isolating them in another way so that things seem to vanish, remixing and reseparating them in still other ways to create endless metamorphoses, astonishing to behold. -------------------------------------------------------- _Net of Magic: Wonders and Deceptions in India_, by Lee Siegel, Univ. of Chicago Press; 1991; pp. 1-5 ________________________________________________________ Magic's connection with fertility rites is ... strong. Magic celebrates tumescence and erection, fecundity and growth, attraction and breeding, birth and resurrection: a rope stiffens when enchanted by magic words, eggs are produced one after another from an empty pouch that has been touched by a magic wand; after a few magic gestures, a womb-shaped pot flows with water again and again, seemingly unemptiable; that which is cut apart - cloth or paper, a woman or a child -- is put back together. Magic reiterates the mystery of regeneration. It serves to remind us of the miraculousness of the creation's continuity. ------------------- Ibid., p. 29. _____________ I repeatedly heard stories in which magic was used to gain converts to one religion or another. "The Nambudiri brahmins of Kerala," a South Indian amateur magician told me..., "after their bath, always throw the bathing water into the air as an offering to god. Saint Thomas pointed out to them that the offering always fell back to earth, that the ground was wet with that water. He did a trick for them. He threw water into the air and it didn't come down. I do this same trick in my own excellent stage show. That tick, in former times, so impressed the brahmins that many of them became Christians." "While all the street magicians are Muslim," an aspiring stage magician, The Incredible Mayadhar, later explained to me, "all of the theatrical magicians are Hindu.... In the nineteenth century many low-caste Hindu groups converted to Islam. Not only the magicians, but the mahouts -- the elephant drivers -- as well...." ... Dayanand, the secretary of the Indian Ring of the Interna- tional Brotherhood of Magicians, offered me [an] explanation of the conversion...: "The magicians were itinerant. Always traveling, traveling, traveling. That is why they converted to Islam. Islam, you see, allows a man to have four wives. The street magicians became Muslims so that they could have one wife in each place where they frequently performed." Chand Baba's understanding of the conversion to Islam was the clearest: the magicians became Muslims simply and obviously because they realized the truth, that there is no god but God and Muhammad is His Prophet. "What's the difference?" Kareem Baksh scowled: "One religion or another, it's all the same. The same truths, the same lies." The magicians can quote with equal ease and feeling from the Qur'an, the *Ramayana*, and the *Puranas*, from Sufi saints and Hindu devotional poets. Religion is grist for the mills of their imaginations; their patter is spiced with sacred images, names, and notions. They use religion to tap into the fears and desires, the superstitions and deep beliefs, of the crowd. If their audience is Muslim, the patter might invoke Nizam-ud-din; for Hindus there might be quotes from Surdas. For both, Kabir would be recited: I am a spectator at god's uncanny magic show: Playing his drum, he sets it up, performs, And spins the wheel! The magic may be false (We do not know what we do know), But the magician is true -- He and he alone is real. ... When the traveling magician finds the performing magician at work he greets him, "*Salaam aleichem*!" And then these men, though they may well be complete strangers to each other, from diferent parts of the land, can communicate in a secret language, a *jadubhasa*, a code parlance known only by the street magicians. In it they reveal, each to the other, that they are Maslets; in it they make plans: the new arrival can act as a confederate for the performer; in it they boast or joke, delineate their lineage, or confess their misfortunes. After the show, the performer will give the visiting magician half of his earnings and and take him to wherever he is staying. Over a meal he informs his fellow magician where he might perform and suggests what knds of tricks will pay off. The traveler goes on his way. ... Shankar had initially presented me to the magicians as a magician. They were completely unimpressed by the tricks I could do, thoroughly unamazed by my ability to instantly locate the card that I asked them to freely choose and return to my deck. They could not distinguish the suits. When I multiplied cigarettes in a box, one of the unbaffled magicians remarked that it was not magic. "Anyone who purchases the gimmick can perform the trick. Magic requires skill. Each trick takes many years to learn and many generations to perfect.".... ... [after performing a trick whereby a needle is passed through the arm and then the arm is healed 'through the power of Shiva, having obtained the power by celibacy:] When I displayed my arm, clearly showing that it was completely healed, they nodded in approval. This was their kind of trick -- harrowing, menacing, distasteful, and evocative of religious associations. When I offered to show them how it was done, they insisted that several people leave the room. This was for family only. Magicians are, of course, by nature and necessity, secretive and private. The ancient tradition of the *mantragupta* vow preserves and binds the group together. The way a trick works is a commodity, and the more people who know how it is done, the less its cash value. Secrets are the currency intimacy and equality; secrecy is power, and its binds magicians together to form the confederacy of magic.... ------------------------------------------------------------- Ibid., pp. 32-9. ________________ "Are there people with real power?" I asked. "Is there real magic?" And both Shankar and Naseeb were eager to answer. Naseeb said no: "No, but I shouldn't ever say it. I earn a living only if people believe these things, only if they believe at least in the possibility of miracles. But there are no real miracles, and all the holy men and god-men, Sai-Baba and Jesus and other men like them, are just doing tricks, tricks that I can do, that I can teach you to do, tricks that all the street magicians can do. Those miracles described in the Qur'an, the *Ramayana*, and the Bible -- those were all just tricks." ... I asked if he believed [that another had powers]. "Naseeb says," Shankar said, "that when you ask people that question, they always answer, 'I'm not sure, but anything is possible.' They neither completely believe nor disbelieve. 'Anything's possible,' they think, and they take pride in being open-minded. That's gullibility." It became apparent that Naseeb's answer had faded into Shankar's: "Most people are gullible. Especially in India. People are easily duped by Tantric con men, bogus god men, and corrupt priests.... There are priests in temples throughout India who cheat people in the same way [through a particular trick he described], using magic tricks in the name of religion...." The things that troubled Shankar merely amused Naseeb. For the street magician, it seemed, it was only possible to deceive someone who wanted or deserved to be deceived. Shankar was more compassionate. He knew that anyone can be tricked, that the quicker and more intelligent a person is, the more easily he can be fooled. "It is easier to dupe a clever man than an ignorant one," Robert-Houdin noted in _Confidences d'un prestidigitateur_: "The more he is deceived the more he is pleased, for that is what he paid for." One of the grandest functions of magic is that it demon- strates that all human beings are fools, that our faculties of perception and reasoning can do so often lead us astray. Magic reminds us that we cannot trust that anything is so, real, or true. That reminder would be disturbing if it were not so entertaining. And magic, Naseeb had said, is above all else, "just entertainment." Being a magician, I fancied, meant living a life in which the world, every delight and terror, every birth and death, every clash and caress, every moment and eon, was entertainment. --------------------------------------------------------- pp. 43-5. _________ The philosopher and the child magician both teach that we cannot trust our senses to reveal what is real, to know the truth. Every magic trick reiterates the metaphysic. ... [Professor Bannerji] turned toward the men and spoke with the same histrionic grandeur that infomed his father's oratory. "I love children, all children. I love their innocence. I love their sense of wonder. All magicians are children at heart. It is the magician's mission and obligation to remind a world that is bleak and busy, rationalistic and moralistic, weary and woebegone, of the child within each adult's heart -- isn't it so? For the child all is magic -- everything is amazing, stupendous, and miraculous. 'Be as a child!' our beloved Ramakrishna taught, and Muhammad and Jesus concur. Adulthood is a loss. It is the death of a child! Magic is the promise of resurrection -- isn't it so? And why not? Anything can happen in the Net of Magic." --------------------------------------------------------- pp. 47, 65. ___________ ... the host of the meeting in Delhi that night -- was, no doubt, meant to convince me that he, The Incredible Mayadhar, really knew about magic and magicians. And when he learned that I was writing a history of Indian magic in particular and that I was interested in its connections with religion, he set out to convince me that he was the willing source for everything that I could possibly need to know. This was not, I am convinced, pretension or pedantry on his part; it was, rather, his way of being gracious. He sincerely wanted to assure me that my travels would not be in vain, that I could always turn to him for any information on anything connected with either India or magic. "Hinduism is the oldest religion in the world. Isn't it? Therefore it follows, if one is willing to be objective, that all other religions evolved, to use Professor Darwin's fine word, from Hinduism. Magic always evolves out of religion. Isn't it? Therefore it follows, by pure logic, whether we are using the logic of our Akshapada or that of your Aristotle -- what difference? -- that all magic, all over the world, evolved out of Indian magic. There it is -- isn't it? -- all that you need to know! Simple!" --------------------------------------------------------- pp. 73-4. _________ The prelude is performed by the boy, who, dressed like his father in a kurta and pajama pants (his earth brown, the father's coal black), sets out the dusty, lethargic serpents and plays the snake charmer's gourd-flute to conjure up individual fears and collective memories: the serpent in Eden, intimating temptation, or the Naga King, Ananta, emblematizing eternity. The snakes both lure the people forward, close enough to see, and keep them at a distance, far enough away not to see too much. The natural balancing of curiosity and fear within those who happen to pass by establishes the perimeters of the stage. With a stick the boy then circles in front of them, engraving a line in the earth to make clear and explicit the demar- cation between the two realities, the one in which the spectators live each day, and the magic one into which they are going to be given a glimpse. In that reality, with its own set of unnatural laws, within the mandala that the boy has drawn, the magician constructs his altar, arranges the bones and stones, limes and daggers, amulets and rings, and the tattered bundles of documents, the certificates and letters that prove that he is indeed the great magician Nasseb Shah. ... ...Naseeb, taking his audience right up to the edge, to the line between amusement and fear, readies them for more serious magic. The transition will be made when they watch the pile of bones -- the jaw bone of a dog or goat, the skull of a monkey, and bits of bone that we fear are human -- spark, burst into flames, and issue dark, sulphurous at a word and gesture from the magician.... Comedy is but the seduction. It opens the soul wherein terrors will be confronted and mysterious explored. To establish himself as a guide into the labyrinth of mysteries, the magician shows his uncanny powers, his *siddhis*: just as Sai Baba and other god-men produce stone or metal lingas from their mouths, he draws larger, and larger still, and meter upon meter of colored cord -- red, yellow, green, black -- and handful after handful of sharply pointed thorns. The manacing barbs are placed in a pile amidst the stones, globes, and tangled cord. Perhaps one of the snakes will slither under the ominous pile. Urgent words, a voice of fire, commands the audience to be silent, to spread their hands apart. Blood oozes from a lime that the magician has pierced with his knife. "Clap your hands!" They obey. "Stop!" They acquiesce. Invisible threads are hooked into each soul and the magician, holding those threads in his hand, tugs the audience forward, eases up, gives them slack, then pulls them in again, closer still. --------------------------------------------------------- pp. 85-9. _________ My guru [Naseeb] revealed the timeless secret of the magic to me. He would show the man a piece of paper on which was a name invisibly written in the lime juice, a name that would become visible when the paper was held over a flame in a demonstration of the magic. Then, giving the man a blank piece of paper, selling him a locket, and instructing him to place the paper in the locket, Naseeb would inform the man that he must wear the locket for three days. At midnight on the third day, when he removed the paper, unfolded it, and held it over a flame, the name of the man who stole his shikhara would be clearly visible. "But what happens when he does it, when he sees the paper is blank?" Naseeb seemed surprised that his disciple was so slow in catching on, that I had learned so littel about how Indian magic, the ancient as well as the modern, the hieratic as well as the folk, was done. After collecting the money for the locket, the magician would explain that if the man had any selfish thoughts, uttered any false words, or committed any malicious deeds during the three days that he wore the locket, the paper would be blank. If a man struck Naseeb as particularly honest or unusually virtuous, he would tell him to wear the locket for a week. Not a single person had ever asked Naseeb for a refund. --------------------------------------------------------- Ibid., p. 113. ______________ The confusion, Indian as well as European, of magician- entertainers with magician-yogis was natural and inten- tionally precipitated. Street performers earned their livelihood by capitalizing on the association, by imitating or impersonating those mendicant ascetics who, for over two thousand years in India, having renounced their domestic and social roles and having severed all attachments to the world to wander here and there in a penance for their birth, have been supported with the alms of pious members of society wanting, through their offerings, to have some redemptive share in the vagabond renouncer's holiness. Through ascetic practices, wandering sannyasis were (and are) believed to attain supernatural powers, the powers of Shiva, *siddhis*, which, like every other aspect of life and death in India, have been systematically catalogued and norma- tively categorized: *animan* (the power to become minute or, for the mgician, disappearance,) and *mahiman* (the power to become large); *laghiman* (the ability to become light, to levitate) and *gariman* (the ability to become heavy); *prapti* (the skill of obtaining things, effecting materializations, or, as explained by the tradi- tional commentators on the _Yogasutras_ of Patanjali {3, 45}, having the ability to touch the moon with one's fingertip); *prakamya* (the power to will things so -- telekinesis); *isitva* (a power over the will of others -- hypnosis) and *vasitva* (a power to subdue one's own will -- self-hypnosis). Demonstrations of any of these skills are proof of holy perfection and perfect holiness. The Buddha, that son of Maya, Queen Magic, is frequently referred to and depicted as a magician, a *mayavin*: "Being one, he becomes many; or having become many, becomes one again; he becomes invisible or visible; unobstructed, he passes through a wall, hill, or some other such barrier as if it were made of air; and, as through the air, he moves through solid ground; he walks on water... and travels cross-legged through the sky" (_Samannaphalasutta_ of the *Digha Nikaya*). Returning to his home in Kapilavastu after his great awakening, the Buddha, in hopes of getting converts, staged a grand magic show: "After levitating, the Blessed One walked through the air as if on solid ground, then stopped in midair, first sat down, then lay down. He cut himself in many pieces, and then he put himself back together. He walked on water as if it were land and then dove into the land as if it were water. He produced water as if he were a cloud, and fire as if he were the sun" (_Saundarananda_ of Ashvaghosha, 3.21-23). ... The _Bodhisattvabhumi_ of Asanga lists the *rddhis* or magical proficiences of bodhisattvas within a binary classification: *parinamiki*, the power of transformation (the bodhisattva changes the nature of an existing thing just as a magician turns a mosquito into a pigeon, the pigeon into a child); and *nairmaniki*, the power of creation (the conjurer, like the bodhisattva or a god, produces an egg from an empty bag, a lotus from an empty pond, plenum from void). The magical potencies of the Buddha, *abhijnas* and *rddhis* -- telepathy and telekinesis, clairvoyance, clairaudience, and clairsentience -- were, it was postulated, acquired or realized in advanced meditation. Miraculous aptitudes, according to tradition, could also be attained through both devotional and Tantric ritual. A human being might achieve an identification with the god, not communion with the deity, but an actual incorporation of the divinity's essential energy. In devotional *puja* the officiating priest might identify himself with the god for the devotees, while in Tantric *puja*, the initiate himself could become the deity. Through such sacramental processes the human being was thought to assimilate the divine *maya*. Because there was money to be made, alms for ascetics and offerings for incarnate gods, money given in exchange for a participation in the holiness that supernatural feats were thought to express or represent, every street magician had a version of the *siddhis*, *rddhis*, and *abhijnas*. As the wandering holy man seemed to be a magician, so the wandering magician seemed to be a holy man. And there was (and is) power, cash or esteem, in holiness. "The citizens of the town, gullible as they are, attribute divine powers to him -- he's tricked them by means of his skill in the arts of deception" (_Dasakumaracarita_ of Dandin, 2). Perhaps it's because magic tricks that pass for miracles -- producing holy ash, eggs, or Seiko watches from thin air, making a mango tree grow, turning a rope or staff into a snake, surviving a burial, reading the minds of others, levitating, and other popular items -- are, if one only knows the trick, so very easy to do that the Buddha, at least as he is represented within one trend in Buddhist literature, censured or made light of thaumaturgical practices and displays of marvelous powers. "In order to underline the inadequacy of such attainments {as the abilities to become many, pass through walls, fly, walk on water and read minds} the Buddha recounted the story of a *bhikkhu* who possessed these magical powers, and how they served him nothing in his search for an escape from suffering (*Digha Nikaya*). Apparently conscious of the close connection between tricks and miracles, the perfor- mances of jugglers and the activities of renouncers, the Buddha spoke of a magician who "upon the stage deceived people with his tricks." But, since death cannot be tricked, the Buddha explained, he himself, with nothing up his sleeve and nothing planned, chose the holy path, the way of truth over the way of magic and deception (*Ayoghara-Jataka*). He taught with an open hand. Like the Buddhist arhat or bodhisattva, so the Hindu yogi, sadhu, or siddha, and, more recently, the Muslim fakir or pir, have been customarily and popularly believed to possess magial resources. Magicians within each religion formed an extramural, syncretic, and complicitous caste of their own: "The caste which is particularly devoted to magic as a vocation is that of the Yogi, which is primarily Hinu but has Mohammadan elements affiliated to it. The Yogi claims to hold the material world in fee by the magical powers which he has acquired through the perfor- mances of religious austerities, but this claim soon degenerates into superstition of the worst type, and the Yogi in reality is little better than a common swindler, posing as a faqir" (H.A. Rose, _Magick {Indian}_). Since the magical powers of yogis were thought to have been attained through mortifications, self-crucifications, punishing the flesh for being flesh, spectacularly masochistic public demonstrations of painful austerities were in order: "At certain periods of the year, parti- cularly in the month of April, many men of the lower castes observe temporarily the discipline of the ascetic sects, and may then be seen to cheerfully undergo self- inflicted tortures of a cruel kind, as, for example, passing thick metal skewers through the tongue, the cheeks, or the skin of the arms, the neck and the sides, walking upon live charcoal, and rolling upon thorns. Amongst the motives commonly ascribed to these temporary low-caste ascetics are the gratification of vanity and the desire for the pecuniary gain which their perfor- mance usually brings them; but there can be no doubt that many of them hope, and look for, other and less obvious rewards for their self-inflicted sufferings" (John Campbell Oman, _The Mystics, Ascetics, and Saints of India_). ... As the Indian court magician-entertainer represents a profanation over time of the Indian court magician- priest, one who imitated with tricks what the priest had been thought able to accomplish in reality, so the itinerant Indian street magician-entertainer represents an evolutionary banalization of the mendicant samana, siddha, yogi, sannyasi, or sadhu, simulating the powers attributed to them with an imitation that is either, depending on what you know or want, entertainment or fraud. Prestidigitational techniques for close-up magic and parlor conjuring had been cultivated into skills by the time of the *Kamasutra* (c. third century c.e.), wherein various sorts of legerdemain are enumerated among the sixty-four arts that were de rigueur for sophisticated ladies and gentlemen in ancient India (1.3). Sleight of hand with dice, as well as the art of gimmicking the dice, became essential tricks of the gambler's trade. "Entering the casino to join the gamblers there, I witnessed their skill at the twenty-five gaming arts -- at such tricks as loading the dice and moving a piece, unnoticed, from one place to another." (_Dasakumara- carita_ of Dandin, 2). The conjurer was a swindler with bunko as his dharma. But trickery made him no less godlike than the sadhu or sannyasi, for the gods, after all, are and always have been tricksters themselves: like crooked gamblers, "the gods trick the demons out of their winnings, this world, the sacrifice (_Satapatha Brahmana_, 1.2.5.10). At some point the Hindu street magicians, protected by Indra and Shambara, Skanda and Vishnu, converted en masse to Islam, to faith in a god who is neither amused by jugglery nor tolerant of fraud. While it's difficult to determine either the period of or reason for that conversion, my suspicion is that the collective submission of the magician's wills to the will of Allah occurred in the nineteenth century (much later than the conversion of such cognate groups as the bangle makers, who became Muslims in the thirteenth century): the magicians who perofmred in Jahangir's court in the seventeenth century were Hindus from Bengal; eighteenth- and nineteenth-century European travel accounts mention magicians with such Hindu names as "Covindsamy" (Govindaswami) and "Seshal" (Sushila); in a several-hundred-year-old series of visual depictions of Indian daily life, the magician, performing with cups and balls (using two cups and three balls just as in Naseeb's rendition of the ancient trick), is adorned with the sectarian markings that signal one who has renounced his own identity to emulate, and ultimately become, Shiva, lord of yoga, divine exemplar of the magic powers that are attained through austerieies. The show's a con job (if the audience believes the methods for the effects are supernatural), or a parody (if the audience knows the methods are sleights), or a bit of both -- in the shows I've seen there's always that ambivalence: to the degree that I know I'm seeing a magic trick, accomplished through human skill, I can't accuse the magician of fraud; but to the degree that I wonder if what I'm seeing might be real magic, a miracle accomplished through divine power, I'm tempted to buy a ring, amulet, or spell. ... Perhaps the conversion and simultaneous consolidation of street conjurers into a discreet group, the Maslets, a professional Muslim subcaste that identified themselves as entertainers, was meant to distinguish them, at least in the eyes of the law, from another group -- the non- Muslim Jaduas, whose training in magic and conjuring was purely for the sake of criminal activities.... ---------------------------------------------------------- Ibid., pp. 150-4. _________________ Naseeb proudly calls himself a Madari, in popular usage the general name for various Muslim castes of street performers, including not only the Maslets, but also Kalakars, Qalandars, and others, names that suggest an alliance with, or origin in, Sufi orders. Ja'far Sharif's early nineteenth-century attempt to explain India to Europeans includes a discussion of Madaris: "The term is usually applied to any 'unattached' religious beggar who smokes drugs to excess. ... They are by religion half Hindus and half Musalmans. ... Some of them are jugglers. ... {They} place an earthen pot without a bottom on their heads and put fir in it, on which they lay a frying-pan and cook cakes. They are one of the disreputable Orders of begging Faqirs" (_Islam in India_).... ... A nineteenth-century survey of North Indian castes identified the Madaris as "one of the Beshara or unorthdox orders of Muhammadan Faqirs who take their name from the famous saint of Zinda Shah Madar of Makanpur. ... The Madaris of Northern India have no real connection with the genuine Sufi sects. ... The fact seems to be that the Indian Madaris were established in imitation of the Hindu Jogis and Sannyasis. ... They seldom pray or keep fasts, and use *bhang* freely as a beverage." ---------------------------------------------------------- Ibid., pp. 155-6. _________________ The Maslets with whom I spoke distinguished themselves from the bear and monkey trainers who are seen, by them- selves and others, as pariahs; they aligned themselves with the puppeteers and bards. "We're artists. We're actors. The magic show is a dramatic performance." That drama, whether it is performed for aesthetic or criminal ends, was presumably once liturgical. The apotropaic function of the rite that the drama imitated gave way to a new social function -- entertainment. And in the entertainment, the parody of religious activity, enough of the images and actions of the rite have been maintained to create the ambivalence in the mind of the audience which, for the magician, is the source of that audience's willingness or eagerness to pay. Passing the hat or basket-top does not bring in the kind of money that is made by the sale of magic rins, amulets, and spells. So, while the conjurer- entertainer lampoons the magician-sorcerer (and so his audience laughs at the parody of the mantra recitation, "*yantru-tantru-jalajala-mantru*"), he also makes sure the observers suspect the magic might be real (and so there is silence and terror when, with his son lying on the ground, tongueless and vomiting blood, the magician demands two rupees from each of the onlookers). The crucial suspicion is generated through symbols -- the props of the magician, his costume, his language, and his tricks. While previously, as attested by literary and pictorial sources, the magician dressed as a renouncer, a yogi or sadhu, and his son as the chela, now, since the conversion to Islam, the magician wears a kurta, pajama, or lungi. Now he disguises himself as a sorcerer who is disguising himself as an ordinary person. "Some of the people think," Naseeb laughed, "that, after the magic show, I change out of my clothes and into a loin- cloth, so that I can return to the cremation grounds. They suspect I'm a fakir-baba or yogi-baba and that I've put on these clothes so that I can mix unnoticed with everyday people." To maintain that suspicion, there is always some symbol present -- the rosary of *rudraksa* beads around his neck or the ashes on his forehead for a Hindu audience, for his Muslim onlookers, the lace skullcap that implies that he has made the pilgrimmage to Mecca. The magician's peacock feathers, as carried by conjurers for centuries, are Skanda's, the patron deity of thieves and conjurers, associated with exorcisms and other magical practices; the flute that the magician plays is Krishna's; and the hourglass damaru with which, like the bear handlers, monkey trainers, and snake charmers, he calls his crowd, is Shiva's. And because it's the magician's drum, Kabir says, Shiva plays it, "beats his drum to roll out the show," to show with that show that he, the god, is a magician, "duping gods and men and sages, baffling everyone in the house. ... The magic is false, the magician true" (*Bijak*). Establishing the drum as a magical object, Naseeb moves it spellbindingly arounda volunteer's clasped hands, and they can't be pulled apart, waves it ceremonially over a decapitated body to effect the recapitation, beats it liturgically before producing some startling, wonderful metamorphosis. "This is Mahadeo's drum!" The magic drum is an ancient image: "If you beat upon this side of the drum your enemies will run away from you; but if you strike the other side they will become your constant friends" (*Dadhivahana-Jataka*). In the same *Jataka* there is a magic gem that enables its owner to levitate, and just as the magic show always begins with the beating of the drum, so it always ends with the sale of such gems, blessed by the magician and set in rings or amulets. Attributing the restoration of a severed head to a body to the power of the jewel in the ring, the magician announces: "Ten rupees! Only ten rupees and it will keep all your troubles far away." The pitch works by playing on the notion of a "ring-*sakti*" that is firmly established in that aspect of consciousness which is fashioned by tradition.... ... "This power," Naseeb and the other magicians say, "I gained at the cremation grounds." The macabre claim associates the magicians with the vanishing Aghoris and vanished Kapalikas, those Tantric ascetics reputedly versed in dark magic, in whose rites blood, alcohol, and flesh are necessary. The association and implied affinity is amplified by the use and presence of bones and skulls in any demonstration of street magic. The power of magic is a grace attained by one who knows death, who has confronted horror, and gone beyond terror and disgust by inverting those vulnerabilities into ecstasy and dispassion. Naseeb, his eyes like burning coals, his laugh full of an ecstatic scorn, anoints his monkey skull with blood, and when he squeezes a lime over it, the ground beneath the skull bursts into flames. The horror is exquisite misdirection, delectably grisly and gruesome, and it's a convention that was well established at the beginning of the century.... One of the magicians from Ludhiana, performing in Kashmir, had fixed a monkey skull on top of a pole that was planted in the ground both as a sign to attract an audiance and a focal point around which to arrange that crowd. The image was redolent of the *khatvanga*, the skull-crested club or staff that is carried by Shiva, the Kapalika yogis who have emulated the god, and the sorcerers who claim to have the god's terrible power. The club or staff, like the damaru drum and water-bearing *kamandalu*, are religious accoutrements that have been profaned into the standard props of the magic show. The street conjurer uses the wand to turn over the cups in the traditional Cups and Balls routine, to secure and cover objects palmed in his hand, and to point at things and thereby misdirect the attention of his audience. The staff or wand traditionally held by the magician symbolizes, according to the *Kausikasutras* (47.12-22), the weapon of Indra, the prototypical magician -- his *vajra*, or thunderbolt, the instrument that could be used to kill an enemy or bring the fecundating rains. Through symbolization, the earthly holy man and, in emulation of him, the performing conjurer absorb the divine power of the heavenly magician.... ---------------------------------------------------------- Ibid., pp. 157-9. _________________ Just as the magician's props are meant to suggest an apotheosis, so his language, incomprehensible and mysterious, establishes his esoteric power. *Omne obscurum pro magnifico*. With sounds the magician- performer further imitates, parodies, or poses as the real magician, that knower of the *mantra-sastra*, the formulae, phrases, and syllables that people believe have a real power to effect or to attain things, worldly things or even liberation from the world. These utterances, devoid of all semantic meaning or power, are thought to have meaning and power to the degree to which they contain and activate the essence of the deity. The dynamic is understood in terms of a conviction that all correspondences in the cosmos are actual and ultimate, and that all phenomena represent merely the temporal and spatial manifestation within a particular of some more fundamental reality. A god can be a god or a person, an image or a sound. Magic in India involves the mani- pulation of these images and repetitions of these sounds. The magician-entertainer says "*gilli-gilli-gilli*" or "*yantru-mantru-jalajala-tantru*," both to invoke the mystique of *mantra-sastra* and to parody the tradition, in the same way that the Western magician's "hocus-pocus," a profanation of "hoc est corpus {meum}," is both serious and not, simultaneously mocking the Eucharist and drawing upon its psychologically established powers. The word *jadu* can mean hocus-pocus or mumbo-jumbo: "Pray sir," asks a barber in the nineteenth-century *Panduranga Hari or Memoires of a Hindu* of William Browne Hockley, "is that Sanscrit or what language?" And the narrator's reply is: "May be it is jadoo." While *yantru-mantru-tantru* evokes a fear of Tantric forces, so *Bismillah*, the sound that begins all but one of the *suras* of the Qur'an ("In the name of God, the Merciful, the Compassionate"), shouted or whispered by the magician, provokes awe to no less a degree as it suggests the powers of *simiya*, Islamic natural magic, a tradition that, despite condemnation by Islamic law, flourishes and includes both high, white magic and low, black magic -- *jadu*. The Muslim magician in India is traditionally an exorcist and fortune-teller, a source for magic charms, amulets, and rings; he has the ability to detect a thief and retrieve stolen goods, to procure revenge on an enemy and influence decisions at court. Naseeb and the other magicians of Shadipur imply, with their props, amulets, and language, that they are real magicians. Naseeb will swear by any god that he has gleaned knowledge from Muslim *murshids* and Tantric sadhus, gained his powers from both the tombs of Islamic saints and the burning grounds of the Hindus. The power of the god that the magician has earned or stolen from the places of death to display in the streets and bazaars is essentially a cosmogonic power. Many of the traditional, conventional, and most ancient of the tricks in the street magician's repertoire recapitulate Indian cosmogonies. The world itself is created by magic: "The Magician creates the whole universe and by the same magic beings re captivated within it" (*Svetasvatara Upanisad* 4.9). The magician recreates images of what the Magician creates. Thus the dramaturgist Bharata explains that Brahma, the creator, is the deity who presides over the aesthetic sentiment of wonder, the *adbhuta-rasa*. "Wondrous indeed is the creation of the world," cries the voice in an anonymous stanza cited as an example of that sentiment: "This is so very bizarre! Amazing! ... The creation of the world is out of this world!" (_Kavyaprakasa_ of Manmatta, citation 43, afer 4.29). --------------------------------------------------------- Ibid., pp. 161-2. _________________ "When the baby is born everything is magic. Then, when he gets older, his parents confine him. 'Don't wet the bed,' they say. 'This is right and this is wrong.' And the magick is, thus, taken from his world." I was startled to hear him utter the exact same words that Tayade had used in Bombay, that Shyamal Kumar had used the day before, and I wondered who got them from whom. "To watch a child is to see magic; to watch magic is to be a child.... Well, so much for evolution of magic in a individual person. Now, evolution of magic in the society. This is greatest. A few thousand years ago and more {"*Or* more," said the son.}, it was king against king -- they were cruel, raping the women and killing the children, and this sort of funny business and evil. They thought that they were all all-powerful, and they abused the power. Only power that they were afraid of was the magic power, and so the *dharma-guru* said he had that *sakti*. This self-made magician used ventriloquy to get *murti* to speak, and he had under- ground passages to get water or fire to come out of *murti* as he commanded. You have every word I speak? Good. Okay, he had the servantds down underground to work his apparatus. These slaves were angry. They said to the *dharma-guru*, 'Hey, you damn guy, bloody *dharma-guru*, give us the freedom, or we are telling everybody how you do your tricks. We'll tell about secret passages, about voice-throwing, hidden wires, and secret mirrors.' The court magician gave the freedom to the slaves, making them promise not to divulge secrets. They kept their word, and they became the first street magicians. These are wandering *jaduwalas*.... ...the son, despite my assertions that I had studied Sanskrit and understood the technical terms, supplied translations of them: "'*Dharma-guru*' is king's teacher; '*sakti*' is god-power; '*murti*' is idol." ... ... Magic in the old {"olden," according to the son} days was always used for war and for the killing. What is the *indrajalam*? -- it is Indra's weapon: nuclear missile! Magic! And still magic is used for the bad purposes. There are three magicians {"Types of," inserted the son} in India: the street magician, as described above; the gorgeous stage magician, like the Great K. Lal [the speaker]; and the Tantric magician, practioner of Bhanumati-*khel*. The Tantric magician still uses magic for killing and killing for the magic. He gets power by taking the head of boy, a Brahmin boy or own son, or he cuts out the tongue of boy -- blood from his own tongue is very powrful for magic. Or they get the blood by putting some holes in fingers. ... The father patiently waited while the son explained that Tantra was "black magic" and that Queen Bhanumati was a sort of patron saint of magic.... ... Lal's "theory of magic" consisted of an explanation that "there are in whole world only six tricks, three doubles: one -- creation and destruction, *sambhava* and *pralaya*; two -- exchange, change one way and other, sea into mountain, mountain into sea; three - cut apart and restore." These tricks, he said, were the "*mahamaya* of Mahadeva {"Great magic of great god," Junior said}, and the earth magician only performs the little versions of the great show." He smiled, sighed, and went on. "That is my job, to be on this earth what the god is in the universe. If you could have a video of this whole cycle of *samsar* {"Creation to destruction, destruction to creation," said the son} in fastest motion, you would realize it is only magic show through and through. Since such video is not available, it is my duty as magician to remind all people of the miracle of the life, to help them to remember. Life is the magic show. We should feel the amazement each day. We should be amazed all the time...." ----------------------------------------------------------- Ibid., pp. 268-271. ___________________ [P.C. Sorcar Junior:] "Then [magic] is, in its essence," I interrupted, "connected with religion, even when it's just entertainment?" ..."Yes, religion is magic, magic is religion. Everywhere. In India too. Here the *Atharvaveda* is the source of Tantra, and Tantra is the source of magic. Here, as in the West, there is both white magic and black magic. Magic is neutral -- the power can be used for either good or evil...."... ... "... The magician is the greatest of all artists. Let me illustrate. When an artest is truly great we say, 'Your song was magic,' 'Your dance was magic,' 'Your painting (or whatever) was magic.' This shows that magic is the essence of all the arts. Some speak of magic aspiring to be art, but it is really art that aspires to be magic. Magic is the highest art, pure art, art's ultimate accomplishment. In ancient India it was classified into thirteen *rasas*: production, evaporation, transformation, transportation, penetration, flotation, restoration after destruction, acceleration or retardation of nature's speed, animation, escape, spectral demonstration of ESP, an ventriloquism. I have mastered all of these, but the mechanics of magic are not important -- anyone can learn the mechanics. The great magician is a psychologist as well as an artist. I hold a degree with honors in psychology from Calcutta University." -------------------------------------------------------- Ibid., p. 278. ______________ ...he reached into his pockets to find a piece of paper upon which he wrote: "She who comes in the name of the guru will pick the number on the other side of this piece of paper." ... Producing another piece of paper from his pocket and setting it on the low table by the red chair, he asked her to pick any one of the sixteen numbers on it: FIRE 1 2 3 4 E A 5 6 7 8 A I R R 9 10 11 12 T H 13 14 15 16 WATER Prompted by curiosity, she selected the number thirteen, and the magician drew a circle around that number and arrows from it to the borders where four elements were indicated. The fifth, ether, he said, beginning his interpretation, permeated the whole: "Yes, thirteen, close to air and water, far from fire and earth -- this is your basic being, your essence. You are a cool and aerial person, up in the clouds, fundamentally spiritual and detached from the fire of passions and from the earthly flesh." "Wow," Alice said with a nervous smile. "That's true, really true, and it's amazing that you say that, because nobody would ever think that about me; it's not the way I appear to others, but it's true, that's me, deep inside myself." "Of course, Miss Alice, that is why you picked the number, but please say no more, just concentrate. Pick another number, one that remains." She selected the number seven, and as he made the marks on the square, spoke to the earnest girl. "You are seeking balance -- seven balances thirteen, the lucky balances the unlucky. This is your external self, the person you present to the world, close to earth and fire, a woman of the passions, but that appearance contradicts your esential, innermost thirteen. Inner and outer determine the numbers that remain [those four not crossed off by the lines extending from 13 and 7]. To which number does your heart guide you? Do not let the mind confuse you. Let your soul [choose] -- two, four, ten, twelve?" "Two," she said, and he smiled, nodded meaningfully, muttered a soft "Of course" to himself, and continued the explanation of the deep mystery of the numbers. "That is your future, close to fire, but not so close to earth. It suggests passion, but the passion is more spiritual than physical. Through it, once discovered and fulfilled, there will be release." "That's right," Alice nodded incredulously. "I mean, that's what I'd like to find. That's why I joined the Sathya Sai Baba Center, and that's why I..." "Please," the magician interrupted. "Do not tell me things about yourself -- I now you well, deep within my conscousness. Only one number remains, number twelve, like the months and the signs of the zodiac, the number which suggests wholeness and completeness, that which will be experienced by you if you find that spiritual passion indicated by the number two." "Now, to determine your signature number, you must add up the numbers that you have freely, following the impulses of your inner being, selected: two, seven, twelve, and thirteen. Do so and then turn over the piece of paper before you." "Thirty-three. No, that's not right. Thirty-four! Yes, thirty-four!" she said anxiously, nervously, now wanting it to be so, to convince herself and this mysterious man from India that it was indeed she who had been chosen for something unclear, but something important to be sure. And, "Thirty-four," she said again (the sum that would have resulted no matter which numbers she had chosen in the old and easy, self-working force), and slowly she turned over the piece of paper, and there was the number thirty-four, proving beyond a shadow of a doubt that Alice, though she had not known it before, had a mission in this life and a spiritual path to follow. "God," she sighed. "What does it mean? I mean, what's going on? Who are you, and what's this all about?" "You mean you really don't know yet?" the magician gently laughed. "You do know, yes, you do, but your intellect is, once again, clouding your consciousness. Within yourself you know. You know that Baba has chosen Las Vegas [their present location] as the spiritual center of the twenty-first century. We have only thirteen years -- thirteen, the number you selected first -- to prepare." "God, I don't believe this is happening," the girl laughed with slight discomfort. "Is this some sort of crazy joke?" "Everything has a purpose," the magician said, looking deeply into her eyes. "When you first came to Las Vegas, though you did not know it and thought it was for other reasons, it was to take the class on Indian philosophy and to join Baba's center. The heights, as the Veda notes, are accessed through the depths. All has been but preparation for this moment." ------------------------------------------------------ Ibid., pp. 304-7. _________________ EOF -- tyagi@houseofkaos.abyss.com (emailed replies may be posted); 408/2-666-SLUG http://www.abyss.com/tokus FUCK http://www.hollyfeld.org/~tyagi
The Arcane Archive is copyright by the authors cited.
Send comments to the Arcane Archivist: tyaginator@arcane-archive.org. |
Did you like what you read here? Find it useful?
Then please click on the Paypal Secure Server logo and make a small donation to the site maintainer for the creation and upkeep of this site. |
The ARCANE ARCHIVE is a large domain,
organized into a number of sub-directories, each dealing with a different branch of religion, mysticism, occultism, or esoteric knowledge. Here are the major ARCANE ARCHIVE directories you can visit: |
|
interdisciplinary:
geometry, natural proportion, ratio, archaeoastronomy
mysticism: enlightenment, self-realization, trance, meditation, consciousness occultism: divination, hermeticism, amulets, sigils, magick, witchcraft, spells religion: buddhism, christianity, hinduism, islam, judaism, taoism, wicca, voodoo societies and fraternal orders: freemasonry, golden dawn, rosicrucians, etc. |
SEARCH THE ARCANE ARCHIVE
There are thousands of web pages at the ARCANE ARCHIVE. You can use ATOMZ.COM
to search for a single word (like witchcraft, hoodoo, pagan, or magic) or an
exact phrase (like Kwan Yin, golden ratio, or book of shadows):
OTHER ESOTERIC AND OCCULT SITES OF INTEREST
Southern
Spirits: 19th and 20th century accounts of hoodoo,
including slave narratives & interviews
|