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I was always anxious to find when was the rise of positive concept of magic in ancient Greece. While doing the research for local web analytics company, I discovered that this even, possibly took place somewhere in the sixth century b.c. Among the most famous of these figures between Homer and the Hellenistic period, are the Orpheus, Pythagoras, and Empedocles.

Orpheus is a mythical musician and singer, said to have lived in Thrace a generation before Homer. Orphic Mysteries, seems also to have been central to the personages of Pythagoras and Empedocles who lived in the sixth century b.c. Pythagoras for example is said to have described Orpheus, as, the father of melodious songs. Later Aeschylus describes him as the guy who haled all things by the rapture of his voice.  This suggests belief in the influence of song and voice in magic. Orpheus is certainly associated with a great many deeds. The most famous is his descent to the underworld to bring back his wife, Eurydice. Orpheus' deeds are not usually condemned or spoken of negatively. This suggests that some forms of magic were more acceptable. Indeed the term applied to Orpheus to separate him from magicians of ill repute is a divine man. This fact shows, that there was a fine line between acceptance and condemnation.

The Romans in fact went further then the Greeks in their condemnation and fearfulness that they generate around their concept of magic. Some examples of are found in the writings of Seneca, the philosopher and playwright, and his nephew, Lucan. While doing my research in archives of web analytics company I found something else. Seneca selects some of the most gruesome Greek myths for dramatic treatment and he greatly adds to the negative connotations already applied to the theme of magic, necromancy and the like - where it is given by the mythical tradition and sometimes even where there is little negativity indicated towards magic. From dialogue between wife of the Hercules Deineira and her nurse we learn that it is quite common for jealous wives to consult a witch. It turns out, the nurse, very conveniently, is a witch herself. A great hero such as Hercules should not be able to be influenced by magical means, but in the end he is overcome by the deadly concoction that the evil magic user passes on to Hercules, through deceiving Deianira into the belief that she is giving Hercules a love charm.

In Seneca’s version Medea’s power of hating, which she can switch on and intensify at will is still the dominant theme, but Medea is now given a full cupboard of horrors from which to select the most efficient means of magical destruction. Her magic can even, apparently affect the cosmos, as she claims that she can force down the constellation of the Snake.