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قراءة كتاب Witch, Warlock, and Magician Historical Sketches of Magic and Witchcraft in England and Scotland

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Witch, Warlock, and Magician
Historical Sketches of Magic and Witchcraft in England and Scotland

Witch, Warlock, and Magician Historical Sketches of Magic and Witchcraft in England and Scotland

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دار النشر: Project Gutenberg
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WITCH, WARLOCK, AND
MAGICIAN

Historical Sketches of Magic and Witchcraft
in England and Scotland

BY
W. H. DAVENPORT ADAMS

‘Dreams and the light imaginings of men’
Shelley

J. W. BOUTON
706 & 1152 BROADWAY
NEW YORK
1889

PREFACE.

The following pages may be regarded as a contribution towards that ‘History of Human Error’ which was undertaken by Mr. Augustine Caxton. I fear that many minds will have to devote all their energies to the work, if it is ever to be brought to completion; and, indeed, it may plausibly be argued that its completion would be an impossibility, since every generation adds something to the melancholy record—‘pulveris exigui parva munera.’ However this may be, little more remains to be said on the subjects which I have here considered from the standpoint of a sympathetic though incredulous observer. Alchemy, Magic, Witchcraft—how exhaustively they have been investigated will appear from the list of authorities which I have drawn up for the reader’s convenience. They have been studied by ‘adepts,’ and by critics, as realities and as delusions; and almost the last word would seem to have been said by Science—though not on the side of the adepts, who still continue to dream of the Hermetic philosophy, to lose themselves in fanciful pictures, theurgic and occult, and to write about the mysteries of magic with a simplicity of faith which we may wonder at, but are bound to respect.

It has not been my purpose, in the present volume, to attempt a general history of magic and alchemy, or a scientific inquiry into their psychological aspects. I have confined myself to a sketch of their progress in England, and to a narrative of the lives of our principal magicians. This occupies the first part. The second is devoted to an historical review of witchcraft in Great Britain, and an examination into the most remarkable Witch-Trials, in which I have endeavoured to bring out their peculiar features, presenting much of the evidence adduced, and in some cases the so-called confessions of the victims, in the original language. I believe that the details, notwithstanding the reticence imposed upon me by considerations of delicacy and decorum, will surprise the reader, and that he will readily admit the profound interest attaching to them, morally and intellectually. I have added a chapter on the ‘Literature of Witchcraft,’ which, I hope, is tolerably exhaustive, and now offer the whole as an effort to present, in a popular and readable form, the result of careful and conscientious study extending over many years.

W. H. D. A.

CONTENTS.

INTRODUCTION.
    PAGE
PROGRESS OF ALCHEMY IN EUROPE 1
BOOK I.
THE ENGLISH MAGICIANS.
CHAPTER    
I. ROGER BACON: THE TRUE AND THE LEGENDARY 27
II. THE STORY OF DR. JOHN DEE 59
III. DR. DEE’S DIARY 93
IV. MAGIC AND IMPOSTURE: A COUPLE OF KNAVES 102
V. THE LAST OF THE ENGLISH MAGICIANS: WILLIAM LILLY 128
VI. ENGLISH ROSICRUCIANS 181
BOOK II.
WITCHES AND WITCHCRAFT.
I. EARLY HISTORY OF WITCHCRAFT IN ENGLAND 203
II. WITCHCRAFT IN ENGLAND IN THE SEVENTEENTH CENTURY 244
III. THE DECLINE OF WITCHCRAFT IN ENGLAND 292
IV. THE WITCHES OF SCOTLAND 303
V. THE LITERATURE OF WITCHCRAFT 378

WITCH, WARLOCK, AND MAGICIAN.

INTRODUCTION.

PROGRESS OF ALCHEMY IN EUROPE.

The word χημεια—from which we derive our English word ‘chemistry’—first occurs, it is said, in the Lexicon of Suidas, a Greek writer who flourished in the eleventh century. Here is his definition of it:

‘Chemistry is the art of preparing gold and silver. The books concerning it were sought out and burnt by Diocletian, on account of the new plots directed against him by the Egyptians. He behaved towards them with great cruelty in his search after the treatises written by the ancients, his purpose being to prevent them from growing rich by a knowledge of this art, lest, emboldened by measureless wealth, they should be induced to resist the Roman supremacy.’

Some authorities assert, however, that this art, or pretended art, is of much greater antiquity than

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