Some versions of the tale differ from Goethe's, and in some versions the sorcerer is angry at the apprentice and in some even expels the apprentice for causing the mess. Further studies indicate that the motif of the "transformation combat" between two sorcerous characters shows great antiquity.
El-Shamy stated that an old form of the tale type appears in the Tale of Setne Khamwas and Si-Osire, as the episode of a confrontation between two sorcerers. He also remarked on the popularity of the tale, which has spread throughout Asia and Europe, to Africa and the Americas. With the help of a princess, the apprentice defeats the magician in a shapeshifiting duel.įolklorist Stith Thompson suggested an Asian origin for the tale, supposedly India. The boy apprentices himself to the sorcerer, learns his tricks and escapes. The second type: the father is absent from the story.What follows is a shape-shifting duel between magician and apprentice, and the apprentice wins by shapeshifting into a fox and eating the magician in rooster shape. The magician notices the trick and buys the horse-boy. They both concoct a plan to earn money and scam people: the man shall sell the boy in equine form. The boy learns to shapeshift, escapes the magician's workshop and returns to his father. The first type: a father sells his son to a sorcerer-type character (magician, warlock, wizard).The story of the Sorcerer's Apprentice is classified in the Aarne–Thompson–Uther Index as ATU 325 (The Magician and his Pupil) or ATU 325* (The Apprentice and the Ghosts). The lines in which the apprentice implores the returning sorcerer to help him with the mess he created have turned into a cliché, especially the line "Die Geister, die ich rief" ("The spirits that I summoned"), a simplified version of one of Goethe's lines "Die ich rief, die Geister, / Werd' ich nun nicht los" - "The spirits that I summoned / I now cannot rid myself of again", which is often used to describe someone who summons help or allies that the individual cannot control, especially in politics. Goethe's "Der Zauberlehrling" is well known in the German-speaking world. The poem concludes with the old sorcerer's statement that only a master should invoke powerful spirits. When all seems lost, the old sorcerer returns and quickly breaks the spell. At this increased pace, the entire room quickly begins to flood.
The apprentice splits the broom in two with an axe, but each piece becomes a whole broom that takes up a pail and continues fetching water, now at twice the speed. The floor is soon awash with water, and the apprentice realizes that he cannot stop the broom because he does not know the magic required to do so. Tired of fetching water by pail, the apprentice enchants a broom to do the work for him, using magic in which he is not fully trained. The poem begins as an old sorcerer departs his workshop, leaving his apprentice with chores to perform. " The Sorcerer's Apprentice" (German: "Der Zauberlehrling") is a poem by Johann Wolfgang von Goethe written in 1797. "Der Zauberlehrling" (1797), by Johann Wolfgang von Goethe It was, however, a word from their sponsor that kept the episode from the small screen for at least forty years - Revlon deciding at the last moment that its beauty-creams would not mix too well with blood.Illustration from around 1882 by F. Barth ĪTU 325 (The Sorcerer's Apprentice The Magician and his Pupil) and ATU 325* (The Apprentice and the Ghosts) For once, Dors looks every bit as evil and scheming as she really was, and deWilde is just his usual pretty-boy self, while Kert is no more than ballast. The besotted boy thinks she is being murdered for real, and wants to kill the magician - which gives the wife an idea, since she is wanting to elope with one of the other performers (Larry Kert). Stewart makes a fair fist of playing the magician in a travelling show, taking-in a starving and mentally-deficient runaway from a boys' home (Brandon deWilde), and allowing him to watch the act where his glamorous wife (Diana Dors) gets sawn in half, in the time-honoured way. But the other 24 minutes you might as well miss. It is the ending alone that seems to have caused this episode to be named so often as the best of the whole series, all seven years of it. An unconvincing plot, and three hammy performances out of four, up to the brilliant final twist, which we can't reveal.
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