notoriety by their proficiency, real or imaginary, in the Black Arts,
probably none presents a more strange and irreconcilable character
than the French magician, Alphonse Louis Constant. Better known under
the Jewish pseudonym of Eliphas Lévi Zahed, this enthusiastic student
of forbidden art made some stir in France, and even in London, and was
frequently consulted by those who were inclined to place some credit
in his reputation as a magician. His works on magic are those of an
undoubted genius, and divulge a philosophy beautiful in conception if
totally opposed to common sense principles. There is so great a fund
of learning and of attractive reasoning in these writings that Mr
Arthur Waite has published a digest of them for the benefit of English
readers. This gentleman has not attempted a literal translation in
every case, but has arranged a volume which, while reproducing with
sufficient accuracy a great portion of the more interesting works,
affords an excellent idea of the scope of entire literary remains of
an enthusiast for whom he entertains a profound admiration.
“With regard to the contents of the present volume, there is nothing
in it very suggestive of sulphur. No apprehension need be felt if
the book be left about the house that the adventurous members of the
family circle will commence incantations in mystic robes with the
aid of Abracadabra, the Pentagram and incense. In fact, Eliphas over
and over again sets his face against amateur attempts at magical
practices. The reader may, however, with profit peruse carefully
the learned dissertations penned by M. Constant upon the Hermetic
art treated as a religion, a philosophy, and a natural science. As
a religion, Eliphas holds it to be that of the ancient Magi and the
initiates of all ages; as a philosophy its principles are traced
in the Alexandrian school, and in the theories of Pythagoras; as a
science, he indicates the methods to be ascertained from Paracelsus,
Nicholas Flamel, and Raymond Lully. In view of the remarkable
exhibitions of mesmeric influence and thought-reading which have
recently been given, it is not improbable that the thoughtful reader
may find a clue in the writings of this cultured and amiable magician
to the secret of many of the manifestations of witchcraft that
formerly struck wonder and terror into the hearts of simple folks
eager to behold and ready to believe in supernatural powers.”
_Fcap. 8vo, cloth, price, including the pack of cards 78 in number, 5s._
=FORTUNE-TELLING CARDS.--THE TAROT; Its= Occult Signification, Use in
Fortune-Telling, and Method of Play, &c. By S. L. MACGREGOR MATHERS.
“The designs of the twenty-one trump cards are extremely singular; in
order to give some idea of the manner in which Mr Mather uses them in
fortune-telling it is necessary to mention them in detail, together
with the general signification which he attaches to each of them. The
would-be cartomancer may then draw his own particular conclusions,
and he will find considerable latitude for framing them in accordance
with his predilections. It should further be mentioned that each of
the cards when reversed conveys a meaning the contrary of its primary
signification. No. 1 is the Bateleur or Juggler, called also Pagad;
the latter designation is adduced by Count de Gebelin in proof of
the Oriental origin of Tarots, it being derived from PAG, chief or
master, and GAD, fortune. The Juggler symbolizes Will. 2. The High
Priestess, or female Pope, represents Science, Wisdom, or Knowledge.
3. The Empress, is the symbol of Action or Initiative. 4. The Emperor,
represents Realization or Development. 5. The Hierophant or Pope is
the Symbol of Mercy and Beneficence. 6. The Lovers, signify Wise
Disposition and Trials surmounted. 7. The Chariot, represents Triumph,
Victory over Obstacles. 8. Themis or Justice, symbolizes Equilibrium
and Justice. 9. The Hermit, denotes Prudence. 10. The Wheel of
Fortune, represents Fortune, good or bad. 11. Fortitude, symbolizes
Power or Might. 12. The Hanged Man--a man suspended head downwards
by one leg--means Devotion, Self-Sacrifice. 13. Death, signifies
Transformation or Change. 14. Temperance, typifies Combination. 15.
The Devil, is the image of Fate or Fatality. 16. The Lightning-struck
Tower, called also Maison-Dieu, shows Ruin, Disruption. 17. The Star,
is the Emblem of Hope. 18. The Moon, symbolises Twilight, Deception,
and Error. 19. The Sun, signifies Earthly Happiness. 20. The Last
Judgment, means Renewal, Determination of a matter. 21. The Universe,
represents Completion and Reward. 0. The Foolish Man, signifies
Expiation or Wavering. Separate meanings, with their respective
converses, are also attached to each of the other cards in the pack,
so that when they have been dealt out and arranged in any of the
combinations recommended by the author for purposes of divination, the
inquirer has only to use this little volume as a dictionary in order
to read his fate.”--_Saturday Review._
GEORGE REDWAY, YORK STREET, COVENT GARDEN.
Transcriber’s Notes:
Minor errors and omissions in punctuation have been fixed.
Inconsistent hyphenations have been maintained from the text.
Inconsistencies and errors in spelling have been maintained from
the text.
Please note that small caps have been transformed into ALL CAPS
in this text.
Page 288: “Guinaldi (J.)--Dell’ Alchimia Opera. 4to. Palermo,
1645.” placed in alphabetical order.
Corrections related in the Preface by specific page and line refer to
the following corrections in the chapter on Eirenæus Philalethes:
“secrets in the year 1643” was intended to read “secrets in the year
1645”.
“asserted to read _trigesimo anno_” was intended to read “asserted to
read _anno trigesimo tertio_”.
“instead of _vigesimo anno_” was intended to read “instead of _anno
vigesimo tertio_”.