The renowned Swedish playwright August Strindberg frequently attempted to produce gold in his personal laboratory. The author of “The defence of a madman” drew upon the knowledge of ancient alchemists. Strindberg was known to have a passion for hermeticism, theosophy, and even likened himself to a form of the world soul.
Thus, if you believe that this is merely a unique instance of a writer venerating magic or engaging in spiritualistic sessions, you are quite mistaken. We have chosen to discuss four authors whose works were, to them, genuine spells.
Giordano Bruno faced persecution for his belief in the mystical Egyptian concept of the cosmos
Giordano Bruno, a figure of the Renaissance, is primarily recognized as a scientist and philosopher rather than a wordsmith. His theories regarding the vastness of the universe and the solar origin influenced Nicolaus Copernicus. To many, Giordano is seen as a martyr who was executed for his scientific endeavors. Ironically, he was actually motivated by mystical concepts and was an advocate for the occult.
Frances A. Yates, in “Giordano Bruno and the Hermetic Tradition,” posits that this reputed scientist was a proponent of Hermeticism, which encompasses religious beliefs, magic, alchemy, and astrology.
Giordano held the belief that the mystical Egyptian cosmological religion was the true faith, albeit misrepresented by Judaism and Christianity. He is recognized as a writer because his works are rich with dialogues, dramatic plots, and characters debating worldly issues, akin to modern video bloggers.
He proclaimed that religion required reform, achievable through magical incantations. In “The Expulsion of the Triumphant Beast,” he used the characters of Jupiter and Mercury to predict the resurgence of the ancient Egyptian magical beliefs. This suggested that sentient celestial bodies influence our lives and that the Universe possesses its own consciousness. However, such cosmological views were not well-received by his peers.
The “Russian Faust” depicted rituals and animated dolls.
This gentleman was a prominent figure in the main literary circle of the 18th century. Odoevsky was friends with Griboyedov, shared drinks with Kuchelbecker, and received public accolades from Gogol and Pushkin. Even Dostoevsky awaited his review of “White Nights,” while Turgenev personally read “On the Eve” to him.
However, behind his back, everyone mocked his eccentric hobbies. Vladimir’s office housed mysterious parchments, ominous skulls, and flasks filled with unidentified liquids. His preferred attire, a long black frock coat paired with a cap, perfectly suited his image as an “alchemical-musical-philosophical-fantastic nobleman.”
In “Psychological Notes,” he articulated the notion that the pursuit of knowledge transcends the intellect, evidenced by the fact that even errors and misconceptions propel science forward. Consequently, it’s unsurprising to encounter spirits, magicians, and animate dolls in Odoevsky’s narratives. This affinity for the mystical earned him the moniker “Russian Faust” among his peers.
Furthermore, the author devoted considerable effort to rendering these elements highly realistic through the use of treatises on witchcraft, alchemy, and esotericism. For instance, in “Sylphide,” the protagonist employs occult practices and kabbalistic rituals to forsake his earthly love in favor of reuniting with a water spirit. The text even provides specific guidance: “To behold spirits floating in the air, one must simply gather the sun’s rays in a glass container filled with water and drink from it daily.”
William Butler Yeats called on angels for help
As an enthusiast of magic and mysticism, this modernist poet was eventually honored with a Nobel Prize. Alongside his schoolmate, Yeats co-founded a Hermetic Society lodge in Dublin, adopting the moniker DEDI, an acronym for “the devil is God inverted.” Subsequently, William became a member of the society, which aspired to acquire gnosis – the mystical knowledge that promises oneness with the divine.
The poet had a keen interest in alchemy, Tarot, and frequently practiced spells. Since William Yeats never received an invitation to Hogwarts, he turned his attention to studying Enochian magic, which purportedly enabled him to invoke angels.
William participated in spiritualistic sessions with his wife, who unexpectedly manifested mediumistic abilities during their honeymoon. Some scholars suggest that she feigned trances to preserve their marriage. The poet believed that only those initiated into mystical knowledge could grasp his poems’ meanings.
His works, akin to spells, address the individual mind and memory through symbols, which may explain their complexity. His plays draw directly from mythology and folklore, featuring the demigod Cuchulainn from Irish legends in “At the Hawk’s Well,” “The Death of Cuchulainn,” and “The Only Jealousy of Emer.” In “Purgatory,” the characters of the old man and the boy symbolize death and rebirth. For Yeats, our reality mirrors legends and myths.
Gustav Meyrink addressed his well-being through yoga and had his own interpretations of the occult sciences
This remarkable man was even imprisoned due to his mystical beliefs, facing accusations of fraud and exploiting spiritualism for financial gain. Consequently, Gustav lost his banking job and turned to writing. Helena Blavatsky, the founder of the esoteric theosophical movement, significantly influenced his perspectives.
Meyrink became involved with various communities and delved into the study of paranormal phenomena, telepathy, and alchemy. Interestingly, he also developed a passion for yoga, finding that the practices alleviated his chronic back pain. Eventually, the author of “The Golem” ceased consulting doctors, opting to rely solely on yoga for treatment.
Gustav Meyrink embraced Buddhism, distancing himself from occultism, yet the mystical and esoteric elements in his writings persisted. In “The Green Face,” one encounters the principles of tantric yoga, while “The Angel of the Western Window” incorporates alchemical and tantric knowledge. “The Golem” draws on Kabbalistic lore and the tale of a rabbi who animates clay through magic. Meyrink faced criticism from Jewish mystics for this novel.
Scholars often view his literature as a casual interpretation of occult sciences. Meyrink himself professed that his writing explores “the secret art of kings, which transforms man himself, from his dark, transient nature to an eternal, luminous being that never loses its self.”
