Necromancy
is generally frowned upon across cultures, though it was quite prevalent, especially
in ancient pagan societies. It is the
practice of conjuring the spirits of the dead in order to magically determine
the future, or to influence the course of events. There are at least three underlying assumptions:
that the souls of the human beings survive death, that such spirits possess a
superior knowledge and awareness of the universe and that communication with
them is possible.
The
necromancer’s motives are usually selfish at best, and often evil. Yet, to be fair, the desire to remain in some
sort of communication with one’s deceased friends, loved ones and ancestors is
not uncommon. It may be that in
prehistory, necromancy may have preceded more elaborate forms of polytheism and
monotheism because of this very human interest.
In
some cultures, notably those of ancient Greece and Rome, necromancy was
conducted in caves, near the sites of volcanic activity, or by rivers and lakes—places
where it was felt that the spirits were closer and easier to evoke. A familiar example of this can be found in the
Book 11 of Homer’s Odyssey. Odysseus travels to the ‘Land of the Dead’, a
mist shrouded place at the western edge of the world. He digs a trench, pours in milk, honey, wine
and pure water, and then sprinkles it with barley. He completes the ritual by slaying a ram and a
ewe, so that the spirits of the dead will be drawn to the animals’ blood. He is then able to consult with the prophet
Tiresias, his mother, Agamemnon, Achilles, and others.
Necromancy
is condemned in the Bible, especially in the book of Deuteronomy, where the
Mosaic Law makes it punishable by death.
Interestingly, there is an incident of necromancy in the Bible: In 1 Samuel 28, King Saul is unable to
receive guidance from the Lord during his war with the Philistines. He consults a woman in Endor, (the “Witch of
Endor”), who is able to channel the spirit of the prophet Samuel.
Then
the woman asked, “Whom shall I bring up for you?”
“Bring
up Samuel,” he said.
When
the woman saw Samuel, she cried out at the top of her voice and said to Saul, “Why
have you deceived me? You are Saul!”
The
king said to her, “Don’t be afraid. What
do you see?”
The
woman said, “I see a spirit coming up out of the ground.”
“What
does he look like?” he asked.
“An
old man wearing a robe is coming up,” she said.
Then
Saul knew it was Samuel, and he bowed down and prostrated himself with his face
to the ground.
Samuel
said to Saul, “Why have you disturbed me by bringing me up?” (1 Samuel 28: 11-15)
Two necromancers
run amok in Clark Ashton Smith’s The
Empire of the Necromancers (1932).
The story was originally published in the September issue of Weird Tales. Here the intent is not so much to consult the
spirits of the dead, as to reanimate their remains and enslave them. Mmatmuor and Sodosma, the necromantic duo,
are forced to flee the city of Tinarath, which considers their trade an
abomination. They plot a terrible
revenge: they will reanimate and rule
over the dead city of Yethlyreom, and take their cadaverous troops back to
destroy Tinarath.
Clark
Ashton Smith was heavily influenced by Lord Dunsany, as was H.P. Lovecraft for
a time, and that influence is strongly seen here. The
Empire of the Necromancers is told in the form of a fable, with archaic
language, and odd, difficult to pronounce names for characters and places. It is very reminiscent of the early work of
Lord Dunsany, especially The Gods of Pegāna
(1905) and Time and the Gods, (1906). However, Smith’s vision is considerably darker,
and his distinctive style permeates the story. It is not clear what the moral of the fable might be. Perhaps: 'don't mess with the dead.'
For
awhile, Mmatmuor and Sodosma are able to hold court over their reanimated
minions, whom they treat as slaves. They
are able to do so because the dead have poor memories of their previous existence
as living beings—they do not know of any different experience. But one of their number, the youngest and
last of the original emperors, begins to remember…
The Empire of the Necromancers is interesting in its conception
of a future earth, many millennia hence, in which the sun is barely an ember
about to flicker out. A feeling of impending
doom has spread out across the ruined surface of the planet. The scenes in which horses, soldiers and
mummies are brought back to a living, moving death, and the description of an
entire society going through the motions, though long dead, is genuinely
creepy. Mmatmuor and Sodosma are
depicted as cruel, gluttonous, self-indulgent oppressors. One wonders if this is a comment on
capitalism circa the early 1930s—at the beginning of the Great Depression.
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