“No one in Scotland can escape from the past. It is everywhere, haunting like a ghost.” Geddes MacGregor Does the Scottish Thistle Amulet have unescapable mystic properties related to the past? When Riley ad her cousin Charlie learn of a priceless, stolen Scottish thistle antiquity on their visit to the Edinburgh Museum in Scotland, the temptation to uncover its whereabouts lures them into a conspiracy scheme with their new friends, the McGregor twins. Deliberately ignoring Riley’s parents’ warning not to engage in any amateur detective capers, the four sleuths choose to pursue what they think is a harmless investigation. The lines between right and wrong become blurred as the four detectives create a prickly situation of their own by withholding their sleuthing escapades from Riley’s parents. The exhilarating expectation of fi nding the lost treasure unwittingly tangles them in a thorny plot by a maniacal criminal who’ll stop at nothing to protect an unlawful, lucrative enterprise. Strange, haunting, threatening events are shrugged off by the teens. How could they know that every clue they fi nd will become an entanglement that, in the end, could possibly lead to their demise.

Compiled from ancient as well as modern sources, this is a unique guide to the practice of witchcraft around the world. From magic stones and herbs to theories and spells, all the forbidden arts are here for anyone interested in magi c--black, white, or gray!

The popular image of Scotland is dominated by widely recognized elements of Celtic culture. But a significant non-Celtic influence on Scotland's history has been largely ignored for centuries? This book argues that much of Scotland's history and culture from 1100 forward is Jewish. The authors provide evidence that many of the national heroes, villains, rulers, nobles, traders, merchants, bishops, guild members, burgesses, and ministers of Scotland were of Jewish descent, their ancestors originating in France and Spain. Much of the traditional historical account of Scotland, it is proposed, rests on fundamental interpretive errors, perpetuated in order to affirm Scotland's identity as a Celtic, Christian society. A more accurate and profound understanding of Scottish history has thus been buried. The authors' wide-ranging research includes examination of census records, archaeological artifacts, castle carvings, cemetery inscriptions, religious seals, coinage, burgess and guild member rolls, noble genealogies, family crests, portraiture, and geographic place names.

The Ramsays spend their summers on the Isle of Skye, where they happily entertain friends and family and make idle plans to visit the nearby lighthouse. Over the course of the book, the lighthouse becomes a silent witness to the ebbs and flows, the births and deaths, that punctuate the individual lives of the Ramsays.

Akasha is a precocious young girl with dreams of motherhood. She lives in a fantastical world where most of the oceans circulate in the aquamarine sky waters. Before she was born, the Helios, a tribe of angels from the sun, came to Earth to deliver the Surge, the next step in the evolution of an embryonic human race. Instead they spawned a race of hybrids and infected humanity with a hybrid seed. Horque manifests on Earth with another tribe of angels, the Solarii, to rescue the genetic mix-up and release the Surge. Akasha embarks on a journey from maiden to mother and from apprentice to priestess then has a premonition that a great flood is imminent. All three races – humans, hybrids and Solarii – face extinction. With their world in crisis, Akasha and Horque meet, and a sublime love flashes between them. Is this a cause of hope for humanity and the Solarii? Or will the hybrids destroy them both? Will anyone survive the killing waters of the coming apocalypse?

This dictionary supplies associations which have been evoked by certain words, signs, etc. in Western civilization in the past, and which may float to the surface again tomorrow; for however 'daringly new' a modern use of imagery may look, it generally appears to have roots in what has been said and done in the past. No fine distinctions have been made between symbols (in the limited sense), allegories, metaphors, signs, types, images, etc. (not to mention 'ascending' and 'descending' symbols), since such subtle distinctions, however sensible from a scientific point of view, are useless to a person struggling with the deeper comprehension (and thus appreciation) of a particular 'symbol'.

Book may have numerous typos, missing text, images, or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1891. Excerpt: ... CHAPTER XIV.' A GYPSY MAGIC SPELL. HOKKANI BASO LELLIN DUDIKABIN, OR THE GREAT SECRET CHILDREN'S RHYMES AND INCANTATIONS TEN LITTLE INDIAN BOYS AND TEN LITTLE ACORN GIRLS OF MARCELLUS BURDI- GALENSIS. HERE is a meaningless rhyme very common among children. It is repeated while "counting off" --or "out" --those who are taking part in a game, and allotting to each a place. There are many versions of it, but the following is exactly word for word what I learned when a boy in Philadelphia: -- Ekkeri (or ickery), akkery, u-kcry an, Fillisi', follasy, Nicholas John, Queebee - quabee -- Irishman (or, Irish Mary), Stingle 'em--stangle 'em--buck! With a very little alteration This chapter is reproduced, but with much addition, from one in my work entitled "The Gypsies," published in Boston, 1881, by Houghton and Mifflin. London: Trubner Sc Co. The addition will be the most interesting portion to the folk-lorist. in sounds, and not more than children make of these verses in different places, this may be read as follows: -- Ek-keri (yekori) akairi, you kair an, Fillissin, follasy, Nakelas jan Kivi, kavi--Irishman, Stini, stani--buck! This is, of course, nonsense, but it is Romany or gypsy nonsense, and it may be thus translated very accurately: -- First--here--you begin! Castle, gloves. You don't play! Go on! Kivi--a kettle. How are you? Stdni, buck. The common version of the rhyme begins with-- "One--ery--two--ery, ickery an." But one-ery is an exact translation of ek-keri; ek, or yek, meaning one in gypsy. (Ek-orus, or yek-korus, means once). And it is remarkable that in-- "Hickory dickory dock, The rat ran up the clock, The clock struck one, And down he run, Hickory dickory dock." We have hickory, or ek-keri, again followed by a significant one. It may be observed that while my firs...

At eighty-two, Florida Scott-Maxwell felt impelled to write about her strong reactions to being old, and to the time in which we live. Until almost the end this document was not intended for anyone to see, but the author finally decided that she wanted her thoughts and feelings to reach others. Mrs. Scott-Maxwell writes: “I was astonished to find how intensely one lives in one’s eighties. The last years seemed a culmination and by concentrating on them one became more truly oneself. Though old, I felt full of potential life. It pulsed in me even as I was conscious of shrinking into a final form which it was my task and stimulus to complete.” The territory of the old is not Scott-Maxwell’s only concern. In taking the measure of the sum of her days as a woman of the twentieth century, she confronts some of the most disturbing conflicts of human nature—the need for differentiation as against equality, the recognition of the evil forces in our nature—and her insights are challenging and illuminating. The vision that emerges from her accumulated experience of life makes this a remarkable document that speaks to all ages.

The salt of proverbs is of great service if discreetly used in sermons and addresses; and I have hope that these SALT-CELLARS of mine may be resorted to by teachers and speakers, and that they may find them helpful. There are many proverb books, but none exactly like these. I have not followed any one of the other collections, although, of necessity, the most of the quaint sayings are the same as will be found in them. Some of my sentences are quite new, and more are put into a fresh form. The careful omission of all that are questionable as to purity has been my aim; but should any one of them, unknown to me, have another meaning than I have seen in it, I cannot help it, and must trust the reader to accept the best and purest sense which it bears; for that is what it meant to me. It is a pity that the sale of a proverb should ever be unsavory; but, beyond doubt, in several of the best collections, there are very questionable ones, which ought to be forgotten. It is better to select than indiscriminately to collect. An old saying which is not clean ought not to be preserved because of its age; but it should, for that reason, be the more readily dropped, since it must have done harm enough already, and the sooner the old, rottenness is buried the better. My homely notes are made up, as a rule, of other proverbial expressions. They are intended to give hints as to how the proverbs may be used by those who are willing to flavor their speech with them. I may not, in every case, have hit upon the first meaning of the maxims: possibly, in some instances, the sense which I have put upon them may not be the general one; but the meanings given are such as they may bear without a twist, and such as commended themselves to me for general usefulness. The antiquary has not been the guide in this case; but the moralist and the Christian. From what sources I have gleaned these proverbs it is impossible for me to tell. They have been jotted down as they were met with. Having become common property, it is not easy to find out their original proprietors. If I knew where I found a pithy sentence, I would acknowledge the source most freely; but the gleanings of years, in innumerable fields, cannot now be traced to this literary estate or to that. In the mass, I confess that almost everything in these books is borrowed — from cyclopedia’s of proverbs, “garlands,” almanacs, books, newspapers, magazines — from anywhere and everywhere. A few proverbs I may myself have made, though even this is difficult; but, from the necessity of the case, sentences which have become proverbs are things to be quoted, and not to be invented.