“The spirits I have summoned I cannot now banish.” –Goethe
The Sorcerer’s Apprentice is known to most due to the musical short in Disney’s Fantasia starring Mickey Mouse. The story has an older pedigree, however, dating back 2000 years, though it was a poem by Goethe 200 years ago that established the primary form we know today. For those unfamiliar with the tale, it can be told briefly as follows.
Once there was a sorcerer of great power who had a young apprentice. Despite wanting to learn how to perform all the magic of his master, the sorcerer gave his pupil few lessons in casting spells. Instead of casting great spells, the apprentice spent his days and night sweeping floors and fetching water, tasks he thought beneath him not to mention pointless since he knew his master capable of performing all of these things through magic with hardly any effort.
One day the sorcerer retired from his enchantments to rest while leaving his apprentice to finish bringing in the buckets of water to put in the enormous caldron. The apprentice, however, had a different plan. As soon as his master had left, the young man, who had been peaking at the sorcerer’s book when he wasn’t looking and listening closely to his incantations, decided it was time to show how powerful a wizard he could be. He cast an enchantment on a broom, bringing it to life, and commanded it to do his chores for him of fetching water. The spell worked and soon the caldron was full. The apprentice was very pleased with himself.
Unfortunately, the enchanted broom continued pouring water into the now overflowing caldron, causing the sorcerer’s chamber to be damaged. The apprentice tried to stop the animated broom but realized he had not learned the counter-spell which would have stopped it. Desperate to stop the broom before the room was flooded (and thinking he could still hide the fact he had been performing magic against his master’s will), the young man took up a nearby ax and struck the broom, splitting it down the middle. The apprentice sighed in relief, but his ease was short-lived. Suddenly, both halves of the broom stood back up and began carrying water even faster than before. The apprentice was at a loss, knowing there was nothing he could do and fearing how this disaster would end, if it ever could. But just as the room was becoming floored, the sorcerer returned. The apprentice cried out in fear and hope for his master’s rescue. The old wizard quickly perceived what had happened. With a single word, the enchanted broom halves froze and fell over, lifeless once again. The sorcerer surveyed the destruction caused by the water and his apprentice’s rash folly. The apprentice, ashamed for his presumption, returned to his chores.
This tale is not specifically apocalyptic in any sense of the word. Nevertheless, the general plot does a good job of outlining a type of apocalyptic narrative. Seen in eschatological terms, the Sorcerer’s Apprentice is an example of human hubris resulting in our (near) total destruction which can only be prevented by the intervention of the Divine or some other wise and powerful force which takes pity on mankind. If the apprentice represents humanity as a whole, then the lesson is we will cause our own destruction. This will not be through willful violence but because our misplaced pride in our own abilities. Examples of apocalyptic stories with this theme include Forbidden Planet, Avengers: Age of Ultron, and many others. Most of these modern stories use scientific advances rather than magical spells, yet the misuse of poorly understood power to make life easier is the same in either case.
The presence of the sorcerer at the beginning and end of this story is, I believe, very important for the stories endurance in the Western world. Though the original version came from pagan Rome (where the sorcerer was simply an educated Egyptian mystic and the apprentice a young friend of his), the form that Goethe and Disney adopted buzzes Christian overtones. The relationship between the two characters is very exact with multiple dichotomies: master and pupil, old and young, wise and foolish, restrained and impulsive, powerful and weak with the illusion of power, and so forth. It takes little effort to see these characters as potentially representing divinity and humanity. The fact that the sorcerer leaves but ultimately returns to save his apprentice when all hope is lost can be taken as the Christian conception of God’s return, either to rescue an individual from sin or Christ’s return during the End Times.
Curiously, there is no villain in this story. The enchanted, unstoppable broom is a threat to the apprentice, but it does wish harm on anyone though its actions, which are merely the results of the apprentice’s deem, will cause devastation. If there is no real villain, then how can this be seen as a Christian apocalyptic scenario? Where is the devil, the foe of mankind? The answer, however, is that, while much of Christian eschatology is often framed as a pitched battle between the forces of good and the forces of evil, that is not always the way it has been conceived. In many ways, the end of the world in the New Testament is not even a fight at all. Though John of Patmos speaks of wars in heaven and on earth in Revelation, Jesus in the Gospels speak of harvest time. In these cases, evil is not a foe but a weed. It poses no real threat as an armed enemy might, and someday the master or harvester will simply come to remove the evil and pitch it into the fire to be consumed.
This is the type of eschatology on display in the Sorcerer’s Apprentice. Sin (or ignorance) are and have been part of humanity’s character, which has caused them to make terrible mistakes. Like Adam whose downfall came from a tree (what else is a broom made of if not wood?), the apprentice thought that he could be like his master, like a god. His rash actions soon caused a flood, much like what befell Adam’s descendants. The apprentice was doomed because he did not know the right word to end the spell; for Christians, mankind is doomed without the Word to save them. But whether one tells the story in religious or secular terms, the message is that of a cautionary tale. We all want to run, but it is necessary to walk first. If we trip and fall in our excitement, hopefully there will be someone to pick us back up. If there is not then caution is all the more necessary because we may not be able to stand back up on our own.
For the text of Goethe’s poem, in German and English: http://germanstories.vcu.edu/goethe/zauber_dual.html
I encourage you to rewatch Disney’s Fantasia with the above in mind.
One final note. This post comes shortly after the theatrical release of the Avengers: Age of Ultron. I briefly cited that movie above as embodying themes of human hubris and impatience. The movie itself references Disney’s Pinocchio multiple times, but for those who have seen or will see it, I challenge you to decide whether the movie actually owes more of its inspiration to the Sorcerer’s Apprentice. Pinocchio is about a wooden boy brought to life, though not because of his creator’s powers. The broom is also a piece of wood brought to life, but the apprentice stole this ability from another. Watch the film. Is Ultron Pinocchio turned evil or the broom simply doing what it was told?
Stables of the Apocalypse 