A richly illustrated book of images. Some of Spare's techniques, particularly the use of sigils and the creation of an "alphabet of desire" were adopted, adapted and popularized by Peter J. Carroll in the work Liber Null & Psychonaut. Carroll and other writers such as Ray Sherwin are seen as key figures in the emergence of some of Spare's ideas and techniques as a part of a magical movement loosely referred to as chaos magic. Zos Kia Cultus is a term coined by Kenneth Grant, with different meanings for different people. One interpretation is that it is a form, style, or school of magic inspired by Spare. It focuses on one's individual universe and the influence of the magician's will on it. While the Zos Kia Cultus has very few adherents today, it is widely considered an important influence on the rise of chaos magic.

12 woodcut plates printed on rectos with miniature vignettes on versos. A 13th woodcut plate faces the title page.

The Book of Satyr Magick presents a path of shamanic sorcery for the Otherkin practitioner. Complete with meditations, spells, and rituals specifically designed for the Otherkin experience, it includes daemon correspondences for over thirty different daemons as well as obscure workings such as Ordeal Rites of Predator & Prey, Kitsune-Bi crystal talismans, and using shrunken heads as artificial entities. This is a book the Otherkin community has needed for a long time and is written for all practitioners, witches, shamans, and Otherkin alike.

Man-gods born to live and love forever, the Lords of Satyr are renowned for their sexual prowess. . .and unquenchable lust. . . The Beautiful. . . Strong-willed and deeply sensual, Lord Sevin Satyr indulges freely in the delights of the flesh within the luxurious chambers of his infamous Salone di Passione, the talk of 1880s Rome. Surely the Humans who would deny his kind their pleasures can be persuaded to share them in a new Salone he plans just for them--above all, the beautiful Alexa Patrizzi. Fiery and spirited, she is made for sin. . . And The Damned A pulsing darkness grips the mind of Sevin's younger brother Lucien, the unwilling possessor of powers he cannot control. Held in the Roman catacombs as a sex slave until he was eighteen, he finds refuge in the ElseWorld--and sexual healing in the arms of Natalia, a maenad , who thinks Luc too beautiful, too young for her. But when his mirrored eyes heat to molten silver at her touch, she can only love him more. . . "Give me more!" --Paranormal Romance Reviews Praise for Elizabeth Amber's Lords of Satyr Novels "Sexually inventive and indefatigable man-gods. Bastian. . .scorches the pages." --RT Book Reviews (4 stars) "Dane will enrapture. . ..Amber is truly a maestro." --RT Book Reviews (4 1⁄2 stars, Top Pick) "You are in for the thrill of your life." --Night Owl Reviews (Top Pick) Ms. Amber writes some of the best erotic scenes and takes us on a journey into a wonderful world of fantasy." --Fresh Fiction WARNING! This is a REALLY HOT book. (Sexually Explcit)

The bewitching story of Rome teaching a lonely scholar how to discover himself, "Satyr Square"--part memoir, part literary criticism, part culinary and aesthetic travelogue--is a poignant, hilarious narrative about an American professor spending a magical year in Rome.

A Cinderella romance from 1786, between the son of a duke and a penniless orphan. Set in the glittering aristocratic world of the Roxton family.

The origins of satyr drama, and particularly the reliability of the account in Aristotle, remains contested, and several of this volume’s contributions try to make sense of the early relationship of satyr drama to dithyramb and attempt to place satyr drama in the pre-Classical performance space and traditions. What is not contested is the relationship of satyr drama to tragedy as a required cap to the Attic trilogy. Here, however, how Aeschylus, Sophocles, and Euripides (to whom one complete play and the preponderance of the surviving fragments belong) envisioned the relationship of satyr drama to tragedy in plot, structure, setting, stage action and language is a complex subject tackled by several contributors. The playful satyr chorus and the drunken senility of Silenos have always suggested some links to comedy and later to Atellan farce and phlyax. Those links are best examined through language, passages in later Greek and Roman writers, and in art. The purpose of this volume is probe as many themes and connections of satyr drama with other literary genres, as well as other art forms, putting satyr drama on stage from the sixth century BC through the second century AD. The editors and contributors suggest solutions to some of the controversies, but the volume shows as much that the field of study is vibrant and deserves fuller attention.

A man of otherworldly seductive power travels to Paris to meet his intended bride—only to discover his erotic match in this historical paranormal romance. The last in a fabled line of otherworldly aristocracy, the Lords of Satyr are born to wealth, power, and a talent for sensual delight that mere mortals only dream of. Commanded to marry, these passionate men will travel to Rome, Venice, and Paris—and along the way will explore desires both shamelessly wicked and blissfully divine . . . The youngest of the Satyr brothers, Lyon enjoys working in the family's Tuscan vineyards, caring for his menagerie of animals and bedding beautiful women. But he knows he must fulfill his destiny of taking the last daughter of King Feydon as his bride. And so he travels to Paris to wed the infamous Juliet Rabelais . . . A celebrated courtesan noted for both her culinary and carnal talents, Juliet is a voluptuous beauty with a body meant to tease. And with a full moon only days away, Lyon is quickly aroused. But after a night of intimacy, Lyon wonders if Juliet is truly a mistress of sensual pleasure or whether his sexual mastery will be her undoing . . .

Pietro Aretino's literary influence was felt throughout most of Europe during the sixteenth-century, yet English-language criticism of this writer's work and persona has hitherto been sparse. Raymond B. Waddington's study redresses this oversight, drawing together literary and visual arts criticism in its examination of Aretino's carefully cultivated scandalous persona - a persona created through his writings, his behaviour and through a wide variety of visual arts and crafts. In the Renaissance, it was believed that satire originated from satyrs. The satirist Aretino promoted himself as a satyr, the natural being whose sexuality guarantees its truthfulness. Waddington shows how Aretino's own construction of his public identity came to eclipse the value of his writings, causing him to be denigrated as a pornographer and blackmailer. Arguing that Aretino's deployment of an artistic network for self-promotional ends was so successful that for a period his face was possibly the most famous in Western Europe, Waddington also defends Aretino, describing his involvement in the larger sphere of the production and promotion of the visual arts of the period. Aretino's Satyr is richly illustrated with examples of the visual media used by the writer to create his persona. These include portraits by major artists, and arti minori: engravings, portrait medals and woodcuts.