DigiCat Publishing presents to you this special edition of "The Chaldean Magician" (An Adventure in Rome in the Reign of the Emperor Diocletian) by Ernst Eckstein. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

A collection of Babylonian and Assyrian myths and legends, including various analogues of the biblical flood story and discussions of the history of Babylon and Assyria, and descriptions of various forms of Babylonian worship, Assyrian cults, and archaeological excavation of Babylonian and Assyrian sites.

First published in 2008. Anyone interested in magic and its history will find this a fascinating book. In it, the author discusses Chaldean magic and sorcery, demonology, amulets, the ritual of the dead, the development of Chaldean mythology and the relationship of Chaldean magic to other traditions. A number of spells and incarnations are included, permitting the reader a first-hand look at Chaldean magical practices.

A manual for constructing talismans, mixing magical compounds, summoning planetary spirits, and determining astrological conditions, Picatrix is a cornerstone of Western esotericism. It offers important insights not only into occult practices and beliefs but also into the transmission of magical ideas from antiquity to the present. Dan Attrell and David Porreca’s English translation opens the world of this vital medieval treatise to modern-day scholars and lay readers. The original text, Ghāyat al-Ḥakīm, was compiled in Arabic from over two hundred sources in the latter half of the tenth century. It was translated into Castilian Spanish in the mid-thirteenth century, and shortly thereafter into Latin. Based on David Pingree’s edition of the Latin text, this translation captures the spirit of Picatrix’s role in the European tradition. In the world of Picatrix, we see a seamless integration of practical magic, earnest piety, and traditional philosophy. The detailed introduction considers the text’s reception through multiple iterations and includes an enlightening statistical breakdown of the rituals described in the book. Framed by extensive research on the ancient and medieval context that gave rise to the Latin version of the text, this translation of Picatrix will be an indispensable volume for students and scholars of the history of science, magic, and religion and will fascinate anyone interested in the occult.

This "compendium of information on the occult sciences, occult personalities, psychic science, demonology, spiritism, and mysticism" was one of a kind when it was first published in 1920 and is still considered the best in its field today. Spence organizes a world's worth of magic -- from "Ab" (a magical month in the ancient Semitic calendar) to "Zulu witch-finders" -- into 2,500 dictionary-style entries that explore concepts and personalities both familiar (Freemasonry, Morgan le Fay) and obscure: palingenesy (a process by which plants or vegetables are destroyed and then "resurrected"), Leonora Galigai (a 17th-century Italian aristocrat who was burned as a witch). A delight for devotees of the weird and the strange, and a valuable resource for students of mythology and the evolution of scientific thought, this important volume is at home in the libraries of all book lovers. Scottish journalist and folklorist LEWIS SPENCE (1874 -1955) was a Fellow of the Royal Anthropological Institute of Great Britain and Ireland, and Vice-President of the Scottish Anthropological and Folklore Society. He published more than 40 works on mythology and the occult, including History of Atlantis, An Introduction to Mythology, and Myth and Ritual in Dance, Game and Rhyme.

Good afternoon, Monsieur Le Bon. A good day to you, too, Monsieur Joly. How long has the patient been in a persistent vegetative state? I think since the mid eighties. And the patient is still alive? Yes, Maurice, the brain is still wholly intact, as are the organs... But Gustave, why does not the patient wake up? It seems that the patient is aware of everything that happens around him, but for some reason prefers to flee from reality. I understand, Gustave; this is tragic, very tragic but also not bad, because then we can openly talk while we play. All right, Maurice, lets get the patient to the table and let him watch our game...

A fieldmouse is visited by his uncle who teaches him to work and to take the risk of dancing in the moonlight.