Grimoires: A History of Magic Books

The most noted would be trhe Necornomican based on HP Lovescrafts works. Satanist Anton LaVey came up with his own but he was more honest then the most. Owen Davies gives you the inside scoop on all of it. Feb 24, Katharine Kerr rated it liked it. This book is an unfortunate victim of its publisher. The content itself is fascinating, and were I rating it on that basis alone, I would have given it 4 stars. But the production values are terrible.

Apparently Oxford University Press decided that copy editors cost too much. The text reads like a second draft -- mostly comprehensible, but filled with small errors that together add up to a big problem. Spelling errors, poor punctuation, sloppy paragraphing -- they have no place in a scholarly wor This book is an unfortunate victim of its publisher. Spelling errors, poor punctuation, sloppy paragraphing -- they have no place in a scholarly work like this.

They are also not the author's fault but the editor's, or perhaps the lack of an editor is more like it. There are places in the text where sentences repeat, maybe not word for word, but close enough to distract the reader. Some of the paragraphs also seem to be out of order. The binding is badly done, too, for a hardback. The pages on either side of the section of plates buckle.

I will say a thank you, however, for those plates. They are printed on the proper glossy paper and are thus legible. Too many books these days have prints on the same cheap paper as the text, which makes them illegible. View all 7 comments. Nov 06, Honey rated it it was amazing.

The only downside of this book was that it inspired me to buy a big pile of grimoire reprints that are not remotely as fascinating as their history.

Grimoires: A History of Magic Books

Tremendously entertaining and fascinating for this reader, who has always gotten a kick out of the idea of secret mystic tomes. Apr 23, Sienna rated it liked it Shelves: This was a fascinating but frustrating read. I appreciate the impressive breadth of the topic but feel that much of the depth was selected rather arbitrarily to titillate or hint at just how far the author's knowledge-net reaches: Davies has previously written on popular magic and cunning-folk, so that may explain the periodic glossing of content, and his chapter notes are pretty generous if you're looking for This was a fascinating but frustrating read.

Davies has previously written on popular magic and cunning-folk, so that may explain the periodic glossing of content, and his chapter notes are pretty generous if you're looking for more details. I also recognize the difficulty of dealing with a subject that's constantly in flux, particularly pre-print when a scribe's opinions and experiences often shaped the contents of the manuscript he re produced — what a challenge for editors! My primary concern is that I couldn't help quibbling with the points Davies made on subjects I do know pretty well, especially when it comes to the variety of ways that early modern women and medical practitioners engaged with the magical world.

If there are worrying gaps in the familiar information, how do I know the same is not true of the unfamiliar? I'll give him the benefit of the doubt — an approach the copy editor s obviously also decided to take, based on the inconsistent spelling, capitalization, abbreviation, comma and apostrophe usage — but doubt I'll be citing this in any papers.

Grimoires - Owen Davies - Oxford University Press

When defining what constitutes a "grimoire," Davies focuses on conjuring and talismans. He happily includes the diabolic but not the divinatory, discussing Paracelsus but dismissing or omitting the "usual" cures that reflect the spread of his beliefs and methods occult sympathy and chemically derived ingredients, for instance.

Spells are accepted but seem to be to be difficult to differentiate from magical remedies. He hints at alchemy but fails to delve into what he means by the term. These are just minor points, but a bit more exposition might have helped to clarify why Davies emphasizes certain aspects of magic but breezes over others — worthy of note, I think, because many of the works characterized as grimoires the Grand and Petit Alberts, Key of Solomon, books attributed to Agrippa, etc.

Then again, I'm very interested in both alchemy and the spread of magical knowledge to non-magical realms, so these worries probably better reflect my desires as a reader than the book's shortcomings. As another reviewer has already noted, Davies delivers on his promise: There's a little something for everyone who might be tempted to pick up a copy of Grimoires , and where depth has been sacrificed at least we've got a decent road map for further reading. And there's plenty of good stuff in the pages of the main text: The one place in Europe where grimoires did feature prominently in the witch trials was Iceland.

Around trials are known to have occurred in this former Danish territory, and nearly a third of them involved grimoires, written spells, or runes and symbols derived from them. Those fortunate enough not to be executed were flogged while the pages of their magic manuscripts were burned under their noses. As surviving examples from the period show, the grimoires being used in this northern outpost of European culture consisted of a very distinctive blend of Continental magic, with borrowings from Solomonic texts and the like, and the Nordic runic tradition.

This is extraordinary, considering that in Denmark and Norway, and in Iceland's southern neighbour, Scotland, the vast majority were female. One explanation for this emerges from a comparison with Finland where the majority of accused were also men, in contrast with trials in the homeland of its Swedish rulers. Maybe the Norwegian settlers who came to Iceland from the late ninth century onwards brought with them strong elements of the male shamanic cultures of the Saami, which continued to shape the magical tradition of Finland and northern Scandinavia into the early modern period.

The shaman connection may have some mileage, but Iceland's magic was based much more on literary magic than that of the 'shamanistic', spirit-inspired traditions of Finland. Those also taken with the latter point might be interested in Emma Wilby's Cunning Folk and Familiar Spirits , which connects English popular magic and shamanistic traditions. Threaded throughout is the really satisfying theme that although so much magic is rooted in falsehood and myth-making, those foundational lies somehow matter very little to anyone drawn to the subject.

By the time we learn enough to be disappointed, we're hooked. Give credit for consistency: He's done a comprehensive job of tracking down the important titles, outlining details of their production and consumption, and tracing the impulse to create books of magic from t Give credit for consistency: He's done a comprehensive job of tracking down the important titles, outlining details of their production and consumption, and tracing the impulse to create books of magic from the ancient world to the early-twentieth-century pulps. But far too often the book confines itself to dry recitation, with precious little analysis on offer to enliven the proceedings or put the mass of facts in context.

I can understand the push to make this kind of a presentation; working in a field with a lurid reputation, I'm sure there's pressure to be as high-minded and serious as possible, in a Caesar's-wifely way. One wants to stand out from the variety of breathless, brainless exposes, after all. And yet, that doesn't the book shouldn't be fun to read, does it?

There are some bright spots, but most of these are adverted to rather than fully explored. For example, Davies' evidence shows a strong modern trend of First World-produced books and pamphlets being very influential in reshaping Third World systems of magical belief and practice. There are all sorts of theories one could come up with for why this might be, and the implications are intriguing -- but after have conveyed the bare existence of the trend, Davies leaves its depths unplumbed.

Similarly, the early sections of the book, dealing with ancient and medieval practice, are among the most interesting, but they're relatively short and lightweight. Surely this is mostly down to the comparative lack of pre-print sources, but given how large the period looms in the later imagination of the supernatural, it's worth a more detailed look. Ultimately the book's probably a positive contribution to the sum of human knowledge -- and I don't mean too much to damn with faint praise, those with a scholarly interest in the topic will definitely get some value out of it -- but the lay reader will probably want to track down something a bit less abstemious.

Nov 02, Mark rated it really liked it Shelves: Do you believe in magic? Angels, demons and the like? Historic superstition has been replaced by scientific knowledge, peer review and scepticism. Throughout human history though people have believed in these things, as much as we now believe in the theory of gravity and ever since someone first dreamt of magic there have been ways of committing such things to paper and its forebears; these manuscripts, texts, scrolls and books became known as Grimoires. D Do you believe in magic? Diabolic guidebooks for the curious and the desperate containing an understanding on some level of the occult.

Owen Davies is a Wiccan historian of witchcraft and the occult and this history of magic books is his latest book. He takes us from the pre-Christian period through to present day cultural homages to the occult; Buffy, Charmed and so on.

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We begin in the Biblical period with the story of Moses receiving the ten commandments and are instructed to recall that the books of the Jewish bible were selected from many writings, and those alternative gospels have not been wholly supressed; indeed they are the base of many magical traditions even today. The sixth and seventh books of Moses appear throughout modern human history as Grimoires and an eighth book of Moses was reported to have been discovered in the 4th century BCE.

The pre-modern period of the book was, for me, the most interesting element. Hearing how the Magi, a Persian tribe were thought by the Romans to be the first practitioners of magic through their Zoroastrian heritage and the theory that Zoroaster was really Ham, the son of Noah from whom all people of the middle east descended. There is a huge social history in magic which the author sadly glosses over somewhat and we see that people have always kept such texts and authorities have always feared them.

The author takes us via Islamic magical practices in Moorish Spain, Toledo specifically through the European continent at the time of the printing press which democratised grimoire ownership and across the world to the Caribbean, Latin America and United States. More information on the Arabic world and the far east where magical traditions still thrive now would have been a welcome addition but it is clear to see where the author sees his specialties. Far better to have a good history of some areas than a poor history of them all.

There are a plethora of texts mentioned, many of which I discover have been digitised, names of magicians in each period, many of whom were conmen as is to be expected and some terrific anecdotal stories of grimoire use and misuse. I was thoroughly engaged throughout this book and there is an extensive list of references and bibliography for the reader who wishes to delve further in to this world beneath worlds. Owen Davies is a dispassionate commentator in an area which all too often can attract cranks and fools and he tells this history with nuance and distance that is to be respected. Oct 08, Jeremy Monkres rated it really liked it.

I really wish I could give this 3. The subject matter is really interesting and I thoroughly enjoyed half - two-thirds of the book. The problem is the beginning was the part that was less enjoyable. This is no fault of the author, or less fault anyway, and more to do with the nature of the book. The author is telling the history of magic books more or less chronologically, so in dealing with antiquity and medieval matters, the lack of detailed reliable records to draw upon results in dri I really wish I could give this 3.

The author is telling the history of magic books more or less chronologically, so in dealing with antiquity and medieval matters, the lack of detailed reliable records to draw upon results in drier, less engaging material that kind of reads like a text book. After the reader reaches the th centuries, it becomes an easier read. But without the foundation of texts found in earlier centuries, the events of these time periods forward would not be as appreciated.

If you have interest in the subject matter, I would definitely say to give it a read. Just be prepared for a bit of a slog for the first pages or so.

A History of Magic Books

Nov 22, Scott Ferry rated it really liked it. This is an extremely informative and well researched book on the history of Grimoires from late Roman times to the 20th century. There was alot of information in the book that enlightened my understanding of ancient magical books as well as understanding of how books like this found their ways into many cultures across the globe and in some cases actually meshed with or restructered folk beliefs ie.

One thing the author brings to light over and over is how these books w This is an extremely informative and well researched book on the history of Grimoires from late Roman times to the 20th century. One thing the author brings to light over and over is how these books were diseminated. I think the authors strong points are in the research of medieval history on the subject and also up to the 19th century. The 20th century research is lacking in places. All in all the book offers alot of good jump points for further research and investigation.

Of a good global breadth. Compelling historical case studies. Refreshingly well referenced with "Further Reading" list.

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If I could have given more than five stars I would have. Jul 03, Edward Brock rated it really liked it. A fascinating and thorough study of Grimoires. Sep 23, Corbin rated it it was amazing. A top-notch primer on an anthropological approach to the study of magic and its history through artifacts like grimoires. Davies writes in a fluid style that makes this book a riveting read from start to finish.

Since this book is written with a lay reader in mind, some topics aren't explored as much as one might hope this doesn't hinder the book, but it is worth pointing out for anyone interested in studying folkloric aspects of magic , but the book does have a detailed Further Reading section A top-notch primer on an anthropological approach to the study of magic and its history through artifacts like grimoires. Since this book is written with a lay reader in mind, some topics aren't explored as much as one might hope this doesn't hinder the book, but it is worth pointing out for anyone interested in studying folkloric aspects of magic , but the book does have a detailed Further Reading section that lists other books that would be useful for anyone studying the history of magic with possible primary sources some titles listed included anthologies of Greco-Roman and Coptic sources.

What I appreciated most about this book was how it traced the history of the print revolution and the first major attempts at censorship, since printers were often banned from producing print grimoires in the early modern period. This is supplemented by citations from a variety of sources that paint a picture of the intense clampdown on print grimoires in the sixteenth and seventeenth centuries, which made the chapter appropriately titled "The War on Magic" all the more enjoyable to read.

If you want a good book for getting into studying the cultural history of magic, Grimoires is a solid choice. Nov 03, Thomas rated it liked it. Jun 15, Edric Unsane rated it it was amazing Shelves: In possible connection with the Book of Enoch , the idea of Enoch and his great-grandson Noah having some involvement with books of magic given to them by angels continued through to the medieval period. Israelite King Solomon was a Biblical figure associated with magic and sorcery in the ancient world. The 1st-century Romano-Jewish historian Josephus mentioned a book circulating under the name of Solomon that contained incantations for summoning demons and described how a Jew called Eleazar used it to cure cases of possession.

The book may have been the Testament of Solomon but was more probably a different work. It is a Greek manuscript attributed to Solomon and likely written in either Babylonia or Egypt sometime in the first five centuries AD, over 1, years after Solomon's death. The work tells of the building of The Temple and relates that construction was hampered by demons until the angel Michael gave the king a magical ring.

The ring, engraved with the Seal of Solomon , had the power to bind demons from doing harm. Solomon used it to lock demons in jars and commanded others to do his bidding, although eventually, according to the Testament , he was tempted into worshiping "false gods", such as Moloch , Baal , and Rapha. Subsequently, after losing favour with God, King Solomon wrote the work as a warning and a guide to the reader.

When Christianity became the dominant faith of the Roman Empire , the early Church frowned upon the propagation of books on magic, connecting it with paganism , and burned books of magic. The New Testament records that after the unsuccessful exorcism by the seven sons of Sceva became known, many converts decided to burn their own magic and pagan books in the city of Ephesus ; this advice was adopted on a large scale after the Christian ascent to power.

In the Medieval period, the production of grimoires continued in Christendom , as well as amongst Jews and the followers of the newly founded Islamic faith.

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As the historian Owen Davies noted, "while the [Christian] Church was ultimately successful in defeating pagan worship it never managed to demarcate clearly and maintain a line of practice between religious devotion and magic. In Christianised Europe, the Church divided books of magic into two kinds: The former was acceptable because it was viewed as merely taking note of the powers in nature that were created by God ; for instance, the Anglo-Saxon leechbooks, which contained simple spells for medicinal purposes, were tolerated.

Demonic magic was not acceptable, because it was believed that such magic did not come from God, but from the Devil and his demons. These grimoires dealt in such topics as necromancy , divination and demonology. The 13th-century Sworn Book of Honorius , for instance, was like the ancient Testament of Solomon before it largely based on the supposed teachings of the Biblical king Solomon and included ideas such as prayers and a ritual circle , with the mystical purpose of having visions of God, Hell , and Purgatory and gaining much wisdom and knowledge as a result.

In the 16th century, this work had been translated into Latin and Italian, being renamed the Clavicula Salomonis , or the Key of Solomon. In Christendom during the medieval age, grimoires were written that were attributed to other ancient figures, thereby supposedly giving them a sense of authenticity because of their antiquity.

Simon Magus had been a contemporary of Jesus Christ 's and, like the Biblical Jesus, had supposedly performed miracles, but had been demonized by the Medieval Church as a devil worshiper and evil individual. Similarly, it was commonly believed by medieval people that other ancient figures, such as the poet Virgil , astronomer Ptolemy and philosopher Aristotle , had been involved in magic, and grimoires claiming to have been written by them were circulated.

As the early modern period commenced in the late 15th century, many changes began to shock Europe that would have an effect on the production of grimoires. Historian Owen Davies classed the most important of these as the Protestant Reformation and subsequent Catholic Counter-Reformation , the witch-hunts and the advent of printing. The Renaissance saw the continuation of interest in magic that had been found in the Mediaeval period, and in this period, there was an increased interest in Hermeticism among occultists and ceremonial magicians in Europe, largely fueled by the translation of the ancient Corpus hermeticum into Latin by Marsilio Ficino — Alongside this, there was a rise in interest in the Jewish mysticism known as the Kabbalah , which was spread across the continent by Pico della Mirandola and Johannes Reuchlin.

The idea of demonology had remained strong in the Renaissance, and several demonological grimoires were published, including The Fourth Book of Occult Philosophy , which falsely claimed to having been authored by Agrippa, [26] and the Pseudomonarchia Daemonum , which listed 69 demons. To counter this, the Roman Catholic Church authorised the production of many works of exorcism , the rituals of which were often very similar to those of demonic conjuration. The advent of printing in Europe meant that books could be mass-produced for the first time and could reach an ever-growing literate audience.

Among the earliest books to be printed were magical texts. Despite the advent of print, however, handwritten grimoires remained highly valued, as they were believed to contain inherent magical powers, and they continued to be produced. Throughout this period, the Inquisition , a Roman Catholic organisation, had organised the mass suppression of peoples and beliefs that they considered heretical. In many cases, grimoires were found in the heretics' possessions and destroyed. In Christendom, there also began to develop a widespread fear of witchcraft , which was believed to be Satanic in nature.

The subsequent hysteria, known as the Witch Hunt , caused the death of around 40, people, most of whom were women.

Highly literate Iceland proved an exception to this, where a third of the witch trials held involved people who had owned grimoires. Meanwhile, Hermeticism and the Kabbalah would influence the creation of a mystical philosophy known as Rosicrucianism , which first appeared in the early 17th century, when two pamphlets detailing the existence of the mysterious Rosicrucian group were published in Germany. These claimed that Rosicrucianism had originated with a Medieval figure known as Christian Rosenkreuz , who had founded the Brotherhood of the Rosy Cross; however, there was no evidence for the existence of Rosenkreuz or the Brotherhood.

The democratisation of high magic in the Renaissance meant suddenly everyone was at it, and the demand grew for books giving the runic farting spell; the use of candles made from the fat of a hanged man; and practical manuals for causing rain, seducing women or for making enemies mute with "a weezle's tongue, dried and worn in the shoe". Criminal records show how the widespread use of magic was exposed in the plot to assassinate Louis XIV by a cabal of sorcerers who were purveyors of poison to the palace as well as of cosmetics, breast enlargers and the sanctimoniously named "angel makers", which were abortifacients.

Believers were highly resistant to challenge. When a French government official defiantly laid his hand on a book, whose mere touch was supposed to conjure the devil, the non-appearance of Lucifer was considered evidence of the official's skill as a secret magician. Sometimes the seekers were tricked: Benjamin Franklin's spoof astrological guide Poor Richard's Almanack was circulated as the genuine esoteric article, but in fact gave a rationalist message within the binding of a grimoire.

Paradoxically, as capitalism triumphed and the world became more materialistic, esoteric knowledge flourished in the occult revival. In the US, the birthplace of advanced capitalism, one grimoire even founded a religion.