Tag: D&D

Dungeons and Dragons and History Part 4: The Sorceress

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Introduction

The sorcerer is a wildly varied term, and once that has a number of connotations depending on which context it is used in, much like many of the other classes we have discussed so far in this series. As before will this text focus on comparing the Dungeons and dragons class to elements that can be found, primarily in western culture and myth.

The fantastical spellcaster

The sorcerer of the D&D universe represents one of several approaches to casting magic. What makes the sorcerer/sorceress unique is that they are seemingly given their magical abilities without any personal involvement, be it from birth or other external events, this puts them in stark contract to the Warlock, who has often needed to pay a great price for their magical abilities. (Wizards of the Coast 2014)

The natural spellcaster

The gifts of magic comes natural to the sorcerer, they do not need to study, mediate or mediate for their powers, instead it comes from some sort of internal pre existing ability. This sets them apart to most other spellcasters we will discuss in this series. The players handbook describes a series of origins for the sorcerers powers. (Wizards of the Coast 2014)

Source: https://www.dndbeyond.com/classes/sorcerer

Origins of power

The sorcerers of D&D always have some form of source for their arcane abilities. One of the more common ways are from gaining them from their parental heritage. Some have gotten their powers by exposure to strange magical energies, or divine forcers, other had them gifted to them by other magical being. What sets the Sorcerer apart from other spellcasters in D&D is that their magical abilities was never a result of a conscious depiction by the individual, and is described in the player handbook as a blessing as well as a curse. One interesting origin that the player handbook mentions again and again is the powers gained by the individuals connection to a draconic bloodline, tying them to one of the more iconic creatures, and the namesake of the series. (Wizards of the Coast 2014)

While some see their powers as blessings and wish to further their master y and understanding of them, do other see them as a curse or unwanted source of trouble. The sense of a curse becomes even more apparent when looking at the sorcerers origin known as “wild magic”. These sorcerers have inherited a form of wild and sometimes unpredictable set of magical skills, that can pose a real danger to themselves and everyone around them. (Wizards of the Coast 2014)

Changing the nature of magic

The sorcerers are described as having no need of “tomes and dusty books”, their mastery of the arcane art instead coming from training and intuition. In gameplay terms does this fact represent itself by the sorcerers ability to change certain properties of their spells on the fly, such as chancing a smells damage type, duration or intended effect. It is made clear that these magical abilities comes not from years of study, or from external powers, but rather from the innate powers of the sorcerer themselves. (Wizards of the Coast 2014)

The face of the real life sorcerer

The word sorcerer is one that has been used liberally and with huge variety in a number of contexts. In this chapter will we analyse a few of these and compare them to what we have discussed about the Dungeons and Dragons Sorcerer.

The ancient sorcerer

The idea of the sorcerer, as one that conducts sorcery has existed for as long as we have had recorded history. This individual has enacted certain rites and performed certain actions in order to magically produce certain results. Russel argues that sorcery by its nature is more intuitive and instinctive then methodical. This is in comparison to high magic that is more of an empirical and spiritually enlightened path. (Russel 2007)

Russel makes a distinction that can be found in many society between good and bad magic, and links the former to publicly accepted forms of magic meant to help the society, and private forms of sorcery made for personal gain or profit. (Russel 2007) Note that while D&D does not make any sort of distinction between the validity or justness of one classes use of magic above another, does the Sorcerer of D&D take on a more naturalistic or intuitive form of magic compared to for example the Bard or the Wizard.

High and low magic

As described in my chapter of the Wizard, does the medieval western studies of the arcane make a distinction between the high magic of the mage and the wizard as the learned and logical forms of magic, while sorcery and witchcraft is seen as a low, institutive and dangers form of magic, often relating to the the dealings with demons and other evil spirits. (Russel 2007)

The lower arcane traditions, sometimes called sorcery was seen as dangerous, physical and feminine. In contrast was high magic seen as ethereal, intellectual and masculine. (Wilson 2018) The Greeks for example created two forms of magic, the high form of magic called Theurgia, translated to “working things pertaining to the gods. This was seen as a benevolent form of high magic and very close to religion. The second from was called magia and can be considered to be much closer to sorcery. The low form of magia quickly gained a reputation of being harmful or even fraudulent. (Russel 2007) While the sorcerer in D&D is on now way presented as more evil or malicious then say a wizard, they are presented as more intuitive, and in some cases more wild and dangerous. I would argue, just as I have in my chapter on wizards, that the dichotomy between sorcerers and wizards in D&D can easily be linked to the dichotomy of high and low magic (Wizards of the Coast 2014).

High forms of magic in these contexts were often the domain of wise men who with the power of pure intelligence and willpower created grand miracles, while the lower forms of magic, or sorcery was often seen relating to the use of spells, potions and amulet’s, areas that in D&D is more often associated with the wizards of the world. (Russel 2007)

Lastly, can high and low magic be defined in to the categories of permitted public magic done in the name of the local faith, and the private, informal magic done against the wishes of the ruling theocratic elite. (Russel 2007)

The demon summoning sorcerer

One way the sorcerer is used in texts concerning occultism is to act as an evil “other” to the more good or righteous wizard or mage. Much like the concepts concerning the Warlock, are these individuals magic users that conspires with dark end evil forces rather then using more divine or personal means of magic incrustations. it is hard in some cases to draw a clear line between what should be considered sorcery, and what should fall under the preview of diabolism, such as the case with several cultures such as ancient Greece and Babylonia. (Russel 2007)

Conclusions

I have in this chapter presented various aspects of the sorcerers class in D&D 5th edition, as well as presented a few definitions of sorcerers and sorcery across history. Note that these definitions are in no way extensive, or representative of al definitions of sorcery across history. They are on the other hand a starting point to introduce the reader to a long traditions of sorcery across several cultures and historical eras.

Most relevant to our discussion of D&D is the differentiation of the lower or more intuitive version of magic next to the more higher forms of magic, that can be found in the D&D class of wizard. While nowhere as judgemental or derogatory as many of the definitions of sorcery we have discussed here, there is still an interesting discussion to have around the possible classicism and elitism that exists between the various forms of magic in D&D.

Lastly do I want to draw the attention of the reader to the fact that many times in defining Sorcery throughout this texts, has the goal of many of these definitions seem to be to create some sort of other. A less valid, pure or legal form of magic, that can act as an antagonist to the true and pure forms of theology or magic. We will return to this train of thought once we have discussed al the magically gifted classes of D&D.

As always, if you found this texts subjects interesting I have provided my sources and additional reading materials in the source list below.

Sources

Agrippa von Nettesheim, H.C. (1986). Three books of occult philosophy … London: Chthonios.

Lévi, Eliphas (2017) The Doctrine and Ritual of High Magic : A New Translation

Russell, J.B. & Alexander, B. (2007). A history of witchcraft: sorcerers, heretics and pagans. (2nd ed.) New York: Thames & Hudson.

Wilson, D.K. (2018). A magical world: superstition and science from the Renaissance to the Enlightenment. (First Pegasus books hard-cover edition.) New York, NY: Pegasus Books, Ltd.

Wizards of the Coast (2014). Dungeons & dragons Player’s handbook. Renton, WA: Wizards of the Coast LLC.

Dungeons and dragons and history: part 3, the Warlock

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Introduction

We will in this chapter go back to our series of examining the relationship between Dungeons and Dragons character classes and their ties to real life cultures, myths and practises. This time will we be examining the warlock, an individual that has willingly or unwillingly stricken a deal with a powerful entity, and made a grand sacrifice in order to gain otherworldly powers and abilities. Note that due to the authors currently limited scope on magical traditions, will I limit myself to study the warlock out of a western perspective since this is where my current expertise lies. I hope to one day return to this topic and expand upon it once my knowledge base has increased.

The warlocks of D&D

The warlock in the players handbook is described as an individual driven by their thirst for knowlage and power, it is in this search that the individual has met and made the pact with their patron. This arrangement tend to look more like a business deal then a spiritual connection like that find between the cleric and their deity. As the warlock is so deeply rooted in, and identified by their otherworldly patron, is it pertinent to examine both of them individually before looking at them as a whole. (Wizards of the Coast 2014)

The patron

To begin explaining what a patron is, it is useful to discuss what a patron is NOT. The patron is decidedly not a god, tough some deities are in fact rivalling gods in the terms of might and influence. The individuals are powerful creatures, apparitions or constructs that exists beyond or between the mortal realms. These can be everything from grand rulers of otherworldly plains, such as the Kings and queens of the fay wild, to ancient creatures that lurks beyond the fabric of time and space, and are so alien, that their touts and motivations are completely incomprehensible to mortals. (Wizards of the Coast 2014)

The servant

The warlock themselves, are as mentioned before an individual searching for ancient lore and power. This search has lead them to the discovery of their patron, be it by accident, exploring an ancient ruin, or by deliberately searching trough ancient texts and tomes. Regardless how they found their patron, are they now able to call upon their master for enhanced powers and otherworldly abilities. Just like Wizards are Warlocks described as students of the arcane arts, but unlike their more bookish cousins, does the Warlock take a more direct approach to research, and are as a result more capable fighters and explorers. The players handbook explains that the warlocks thirst for knowlage can not be sated by simple research alone, and that the demands of their patron often forces them to take up the life of an adventurer. (Wizards of the Coast 2014)

The pact

The most defining feature of the of the Warlock archetype. This relationship, as with most things in D&D is highly malleable and customisable. The pact may take several different forms, form the ritual practice of god and worshipper, not unlike that of the paladins or clerics, or it can be a completely practical business deal. The patron might give out their blessings freely and generously, to only do so begrudgingly and to very few select individuals. The patron might be loving of their servant, indifferent, maleficent, or in the case of some of the more strange and ancient beings, not even aware of the warlocks existence. (Wizards of the Coast 2014)

The warlocks in European myth

The most common use in a everyday context of the warlock, is that of the “male witch”. This definition is found in many dictionaries, including the Oxford dictionary and the National Encyclopedia. In this segment I wish to try and contextualize and problematize this seemingly very simple and straight forward explanation.

Witches and warlocks

The concept of the warlock is, much like the witch, sometimes used interchangeably with the term, sorcerer and sorceress. These individuals are said to gain their power from concerting with other creatures and forces. In the terms of a European and western context, and more specificity a unchristian context, these forces was the forces of the devil. These individuals was seen as partitioners of low forms of magic, the magic of evoking dark and evil spirits. This would be set in context to the Magus or the wizard, that uses High magic. This magic is further discussed in my chapter on wizards (found Here (see The wizard)). (Wilson, D.K. 2018)

Light and dark magic

This distinction has been given many names and definitions as the ideas of magic and witchcraft evolved. It has been known as dark and light magic, as well as high and low magic, and finally the left-handed vs the right handed path. The right handed path representing the use of divine forces or the “light” while the left handed path represents the use of various forms of of malignant or evil spirits, demons and devils in particular. Note that magic and occultism is a highly varied and diverse series of practices, and that this text represents a gross oversimplification of several ancient and complicated practices. (Lévi 2017)

Modern Wicca and pop-culture

In the modern interpretation of the Wicca religion is the warlock often seen as negative connotation, as a traitor or once that shall not be trusted. Tough some variations may be found, is the word warlock not used for male practitioner of the Wicca faith, as can often be found in their pop cultural representations. (Wilson, D.K. 2018)

In pop culture is the warlock often seen as a male user of “dark and evil magic”, or in some cases, as a male version of the witch. This image of the evil spell caster is one that can be found in many horror films and novels.

Conclusions

It is simple to see where the authors of dungeons and dragons might have found their inspiration for this class. I do not believe that the authors of Dungeons and dragons must necessarily know the occult and mythical origins of the Warlock, I would rather argue that the concept of the Warlock, just as many of the other classes we will discuss in this series, has such a clear image in the common western collective subconscious, that many of the tropes have survive more or less intact.

With this said, is it interesting to see just how close the concept of the Warlock of dungeons and dragons comes to that of Lévi and his contemporaries. Theses similarities becomes even more apparent when compared to the Wizard. The wizard and warlock dichotomy falls rather neatly, but not exactly in line with the dichotomy between left handed, and right handed magic. As I mentioned before is this text a rather large simplification of a large series of traditions, one that the reader can read more about in the works listed below.

Sources

The Doctrine and Ritual of High Magic: A New Translation Lévi, Eliphas (2017)

Wizards of the Coast (2014). Dungeons & dragons Player’s handbook. Renton, WA: Wizards of the Coast LLC.

The Wilson, D.K. (2018). A magical world: superstition and science from the Renaissance to the Enlightenment. (First Pegasus books hard-cover edition.) New York, NY: Pegasus Books, Ltd.

Dungeons and dragons and history: part 1, the Wizard

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Introduction

The modern myth of the Wizard may be traced back to the renaissance in Europe, but the concept of magic and the men and women that could wield it goes way further back then that.

In this series will we discuss some of the classes available in the Tabletop role-playing game Dungeons and Dragons, and put them in a larger fictional and historical context.

The Mage

The concept of the wise old man with a long beard and a flowing robe is far from a new one, both in fantasy and in general lore as well. The modern idea of the mage can be traced back medieval Europe and the Renaissance as well and the middle ages. This mage or wizard gained his power trough diligent studies and the manipulation of the natural world to his advantage. The mage is seen as a seeker of knowlage and truth, in comparison to the Sorcerer and the superstitious magic user of the countryside. This can very much be understood by the climate of the times and the need to distance themselves from the heretics that the Inquisition were hunting at the time (Levi 2017).

The Wizard in D&D

The fifth edition handbook describes the wizard as a scholar of the arcane. Tough his craft does at first seem simple and their powers come form a single utterance of a short word, or waving of the hand, does this hide vast hours of preparation, study and meditation. The idea of the Wizard as a scholar is further cemented in the form of Arcane Traditions, these traditions are described as philosophical schools of thought, or general areas of study. A wizard tends to specialize in one of them. (Wizards of the Coast 2014)

Knowledge as Power

A mage becomes more and more powerful the more he or she studies the magical and natural world, this concept that exists within both sources we have discussed so far. Lévi argues that true magic can only come from study, and the wizard of Dungeons and Dragons must spend several decades of apprenticeship and studies to acquire any form of real power. In other word does their dedication to their studies and search for magical lore leads to the gain of real life wealth and power.

Booth texts puts large emphasis on the fact that the visual aspects of the magic, the hand waving, the chants and the components, are but a small part of the spell. The real power comes from within the mage itself, and from his long and careful preparations.

Dark vs Light Magic

In Lèvi´s texts (2017), as well as the text of his contemporaries is the Mage presented as the user of light and good magic, in comparison to the evil superstitions of the Sorcerers and Necromancers. This dichotomy between science and superstition, high and low, city and country has been written about in several places. This will not be our focus point today, but non the less will it be consider (Levi 2017). The magic in Dungeons and dragons, are as in many fantasy worlds organized in to good and evil magic to some extent. Dungeons and Dragons most clear example on “evil” magic, would be the study of necromancy (Wizards of the Coast 2014). Lèvi also condones any use of Necromancy in any shape or form.

The clothes of office

When most think of the image of a Wizard, they think of an old man in long robes and with a large white beard. Much of this image I would personally like to attribute to Tolkien’s works, but Dungeons and Dragons as well.

Wizard D&D 5:e taken from Players Handbook

Here we have two examples of Wizards as they are presented by Wizards of the coast1. Here we can see a clear symbols of the mage, the staff, the robes and the book/scrolls of his practice, not shown here is the wand, a symbol that is often related to the wizard as well2.

Wizard D&D 3,5:e taken from Players Handbook

Lèvi discusses a series of artefacts in his text. Chief amongst these are the robes, the staff and the magical wand. Levi explains that these artefacts are al needed to properly control the Astral light. He continues to g in to deep detail about how these instruments should be prepared, used and preserved. The robes in particular corresponds to the certain days of the week, which in turn reoffered to the different celestial bodies. (Levi 2017)

Many of these elements can be seen in the Tarot card The Magician. The Tarot is one of Lévis largest inspirations, and are a large element of occult studies even today. In this card can we find several of the artefacts we have already pointed out. Here we see the robes, the staff and of course the inportant wand. Note that there are several artefacts the Magician carries that do not have a clear translation to the D&D wizard. Chief amongst these are the sword, the talisman and the chalice or cup. Note that Lévi makes account for al of these in his text on occult science.

The Weave

This is the layer of magical energy that the Wizards of Dungeons and dragons uses to manipulate the world around them. This underlying force that combines everything in the multiverse (Wizards of the Coast 2014). A similar concept can be found in Lévis texts in the form of the Astral light. This once again the unifying force that ties the world together. Levi compares this Astral light to a series of contemporary ideas about magic and divinity, such as animal magnetism (Levi 2017).

Knowledge of the ancients

Both of our base texts built around the idea of a long historical tradition of study, as well as the idea of lost knowlage. That the forbearers grasped magic to a much higher degree, and that it is up to today’s Mages to find this lost knowlage (Wizards of the Coast 2014). Lévi (2017) in his studies ties a lot of his research back to the Egyptian and Greek knowlage on the arcane and religion. In Dungeons and Dragons is the call of knowlage very much used as a reason for the Wizard to leave their laboratories and workshops and go out in world and explore and discover old secrets of the world. Lévi also attributed much of his research to the Cabala of old, a topic way to big to take up in this text, but one we might return to.

Spells, Alchemy and Divination

The bread and butter of many magical vocations, including that of Dungeons and Dragons. Lèvi, amongst with his contemporaries all dabble in these arts, as well as the art of Divination. In the Era of the Renaissance and late the enlightenment did many nobles and lords still decide on wars and inportant meetings based on the alignments of the stars. It was the job of the mage to interpret and rely these messages from the stars (Wilson, 2018).

Alchemy was also a well trusted source of knowlage, power and wealth at the time of Lévi and earlier. Many Renaissance scholars and scribes were dabblers in magic as well as natural and social science. Much of was written in these subjects, at least in Europe, was done so with a clear Christian angle and viewpoint. It was hard, if not impossible to separate magic, science and religion.

An interesting side note, the famous Dungeons and Dragons spell Prestidigitation, is a French term, that toughly translates to “slight of hand trick” or “visual magic trick”. An amusing coincidence considering the fact that Lévi and many of his occult contemporaries were indeed from France.

Conclusions

we have in this text endeavoured to tie the Wizard of the Dungeons and Dragons, to his real world counterparts. We have managed to tie the practises, history and visuals of the fictional mage and the Wizard in Dungeons and Dragons.

I argue that we can find several connections between the two images of the Wizard archetype. I would not go so far as to draw direct lines between the two, but it does point towards a somewhat unambiguous and universal view of the Wizard in the west. This text also has quite effectively managed to draw links between modern pop culture and the traditions that came before it, our era do not exist in a vacuum. This is one of the major goals with this blog, to show our popular media, in a broader social and historical context.

If you find this topic interesting then I have a few suggestions for further reading in the references, and I will be adding more to this list as I find them. Feel free to share your suggestions and advice for further research in the comments.

References

Agrippa von Nettesheim, H.C. (1986). Three books of occult philosophy … London: Chthonios.

Wizards of the Coast (2014). Dungeons & dragons Player’s handbook. Renton, WA: Wizards of the Coast LLC.

Lévi, Eliphas (2017) The Doctrine and Ritual of High Magic : A New Translation

Wilson, D.K. (2018). A magical world: superstition and science from the Renaissance to the Enlightenment. (First Pegasus books hard-cover edition.) New York, NY: Pegasus Books, Ltd.

1The company responsible for the release of Dungeons and Dragons. Note that they to share the name of today’s chapters namesakes.

2An image popularized in to contemporary pop culture much thanks to J.K Rowling Harry Potter series, a series we will in the future discuss in relation to renaissance magic as well.