Absolute Magic is a book written by Derren Brown, a well-known magician, mentalist, and illusionist. The book was first published in 1994 and has since become a popular resource for both aspiring magicians and fans of the art of illusion. In Absolute Magic, Brown explores various aspects of magic, from the psychology behind it to the technical skills required to perform tricks. He delves into the importance of creating a sense of wonder and astonishment in the audience, and shares his own experiences and insights into the world of magic. One of the key principles discussed in the book is the concept of "showmanship." Showmanship refers to the performer's ability to engage and captivate the audience, creating a sense of mystery and excitement.
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In the first millennium, Maqlû incantations formed part of the scribal curriculum, and many excerpts and copies of whole tablets prepared by students in the course of their education aid in the reconstruction of the text. 28 sec Requires Level 10 Casts a debilitating debuff on enemies in an area, hindering their movement and also inflicts the Withered debuff, which increases the Chaos Damage they take and can stack up to 15 times.
" Showmanship refers to the performer's ability to engage and captivate the audience, creating a sense of mystery and excitement. Brown emphasizes the need for magicians to develop their own unique style and personality to enhance their performances. Another core element explored in Absolute Magic is the power of suggestion and deception.
Maqlû
K 43 + 142 + 2601 + Sm 1433 obverse (British Museum, London); Maqlû, tablet I, Neo-Assyrian period, 7th cent. BC, Nineveh, Library of Ashurbanipal (line-drawing D. Schwemer; courtesy Trustees of the British Museum).
An extensive ceremony
The most extensive Babylonian anti-witchcraft ritual was called Maqlû “Burning.” Its performance stretched over one night and included the recitation of almost a hundred incantations. The basic pattern of the ritual is shared by most anti-witchcraft rituals and consists of a simple transition: the victim is transferred from a state of imminent death back to life, he is purified and his bound state undone; sorcerer and sorceress are assigned the fate they had intended for their victim by sending the witchcraft back to them. The reversion of the patient’s and the sorcerers’ fate is interpreted as a legal process that ends with the acquittal of the innocent patient whose unjustified verdict had been provoked by the sorcerers’ slander.
The opening section
The ritual Maqlû begins after sunset with an invocation of the stars, the astral manifestations of the gods. The patient allies himself with the gods of the netherworld whom he asks to imprison his witches and with the gods of heaven who are asked to purify him. The exorcist protects the crucible, which plays a central role in the following proceedings, with a magic circle, and the whole cosmos is asked to pause and support the patient’s cause.
Burning the witch
This is followed by a long series of burning rites during which various figurines representing warlock and witch are burned in the crucible. The following incantation is recited at this stage of the ritual. During the recitation of the incantation figurines of warlock and witch made of clay and tallow are put into the fire, where the clay figurine bursts and the tallow figurine melts (Maqlû VII 183–92, 200–203):
Whoever you are witch who took clay for my (figurine) from the river,
who buried figurines of me in the ‘dark house’,
who buried my water in a tomb,
who picked up scraps (discarded by) me from the dust-heaps,
who tore off the fringe (of a garment) of mine at the fuller’s house,
who gathered dirt (touched by) my feet from a threshold –
I sent to the gate of the quay: they bought me tallow for your (figurine).
I sent to the canal of the city: they pinched off clay for me for your (figurine).
I am sending against you the burning oven, the flaring Fire-god,
the ever alight Fire-god, the steady light of the gods,
…
She trusts in her artful witchcraft,
but I (trust) in the steady light of the Fire-god, the judge.
Fire-god, burn [her], Fire-god, incinerate her,
Fire-god, overpower her!
Deciding the witch’s fate; purification in the light of the rising sun
After the sorcerers’ death by fire has thus been enacted repeatedly, a figurine of the witch’s personal fate-goddess is defiled by pouring a black liquid over its head. By this act the witch’s evil fate, her death, is sealed, and the patient leaves her behind in the darkness of the night.
In the second half of the night destructive rites directed against the evildoers are more and more superseded by ritual segments that focus on the purification and future protection of the patient. The incantations greet the rising Sun-god as the patient’s saviour, and the ritual ends with the patient identifying himself with his own reflection in a bowl of pure water shimmering in the morning light.
Sources
The text of the incantations and ritual instructions of Maqlû was transmitted in Mesopotamia in the form of a series of nine tablets: eight tablets giving the full text of the incantations that were to be recited; one tablet giving brief instructions on the performance of the ritual and the actions that accompanied the recitation of the individual incantations. All anti-witchcraft incantations within Maqlû are composed in the Akkadian language, more precisely in the later literary form of Akkadian called ‘Standard Babylonian’.
It is uncertain when exactly Maqlû was composed. In the first millennium BC, the text of Maqlû had a fixed, ‘canonical’ form that is attested in many different libraries of Babylonia and Assyria. This canonical text probably goes back to a compilation, composition and redaction of the text in late second millennium Babylonia. The unknown scholar and exorcist who established the text of Maqlû certainly used older sources, and smaller collections of anti-witchcraft incantations that are known from Maqlû are already attested in earlier second millennium sources.
The text of Maqlû is attested in more than a hundred cuneiform tablets and fragments that were found in various libraries in Babylonia and Assyria. The most important group of manuscripts comes from the royal libraries of Nineveh (7 th cent. BC), but also private libraries of exorcists, such as the library of Kiṣir-Aššur (Ashur, 7 th cent. BC) and Iqīšâ (Uruk, 4 th –3 rd cent.) had tablets of Maqlû on their ‘shelves’. In the first millennium, Maqlû incantations formed part of the scribal curriculum, and many excerpts and copies of whole tablets prepared by students in the course of their education aid in the reconstruction of the text.
You can read a German translation of Maqlû here; you can also have a look at selected handcopies of cuneiform sources of Maqlû. A scholarly edition is being prepared by T. Abusch.
The additional damage from ignite is assumed to be negligible. Characters that specialise in burning damage are aiming towards the largest ignite damage possible and always want to release at maximum stage if possible.
Brown explains how magicians are able to manipulate the audience's perception and create illusions through the artful use of misdirection, sleight of hand, and psychological techniques. He explores the psychology behind these techniques and provides practical advice on how to utilize them effectively. Throughout the book, Brown also shares personal anecdotes and stories from his own career, offering valuable insights into the challenges and rewards of being a professional magician. He also provides step-by-step instructions for various tricks and illusions, allowing readers to try their hand at performing magic themselves. In addition to its practical advice and technical instruction, Absolute Magic also encourages readers to reflect on the deeper meaning and purpose of magic. Brown challenges traditional notions of magic and questions the nature of belief and reality. He urges readers to approach magic as an art form that goes beyond mere trickery, offering a thought-provoking exploration of the philosophical and psychological aspects of magic. Overall, Absolute Magic is a comprehensive and thought-provoking guide to the art of magic. Derren Brown's expertise and insights make it a valuable resource for both aspiring magicians and those interested in the psychology behind illusions. Whether you're a fan of magic or simply curious about the mysteries of the mind, Absolute Magic is a must-read..
Reviews for "The Psychological Tricks Behind Derren Brown's Absolute Magic"
1. John - 2 stars - I was really disappointed with "Absolute Magic Derren Brown". I had heard so many good things about Derren Brown's performances, but this one just fell flat for me. The tricks seemed predictable and lacked any real wow-factor. The show also seemed to drag on for far too long, with too much unnecessary banter and not enough mind-blowing magic. Overall, I was quite underwhelmed with this performance.
2. Sarah - 1 star - "Absolute Magic Derren Brown" was a complete waste of my time and money. The tricks were unimpressive and easily guessable. It felt like watching a magician for beginners, rather than someone at the top of their game. The patter between the tricks was also quite cheesy and forced. I expected so much more from Derren Brown, and unfortunately, this show did not live up to my expectations.
3. Mark - 2 stars - As someone who has enjoyed Derren Brown's previous works, "Absolute Magic Derren Brown" left me feeling disappointed. The tricks were just not as mind-bending as I had hoped for. It felt like I had seen similar tricks performed better by other magicians. The show lacked innovation and felt stale. I was expecting to be truly wowed, but I left the show feeling let down.
4. Emily - 3 stars - While "Absolute Magic Derren Brown" had its moments, overall, I was not fully satisfied. Some of the tricks were impressive and had me questioning how they were done, but others were quite lackluster. The pacing of the show also felt off, with some parts moving too quickly and others dragging on. I expected a more cohesive and awe-inspiring performance from Derren Brown, and unfortunately, this one missed the mark for me.
5. David - 2 stars - I was really looking forward to seeing "Absolute Magic Derren Brown", but it left me feeling underwhelmed. The tricks felt repetitive and lacked any real surprise or wonder. I expected more psychological manipulation and mind-bending illusions, but instead, I got a mediocre performance. Derren Brown is known for pushing boundaries, but this show felt like a step back rather than a step forward.