The English Book of Magical Practices is a comprehensive and informative guide to the world of English magic. Written by renowned magical historian, Professor Margaret Smith, this book delves into the rich history and practices of English magic, showcasing the unique and intriguing aspects of this ancient tradition. One of the main ideas discussed in this book is the connection between English magic and folklore. English magical practices have deep roots in traditional folk beliefs, with many of the spells, charms, and rituals found in the book drawing inspiration from myths, legends, and folk tales. Professor Smith explores how these practices have evolved over time, adapting to new beliefs and cultural influences. Another key aspect highlighted in the book is the diverse range of magical practices within English magic.
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The Book of English Magic explores the curious and little-known fact that of all countries, England has the richest history of magical lore and practice. Dorothy Louise Zinn s precise and lucid translation brings a clear focus to the originality as well as the groundedness of de Martino s observations on the role of social agency and historical contingency in the operation of thought and reason.
Another key aspect highlighted in the book is the diverse range of magical practices within English magic. From herbalism and potion-making to divination and spellcasting, there is a wide variety of practices discussed in the book, each with its own unique history and significance. The book also includes step-by-step instructions and explanations on how to perform these practices, making it accessible for both beginners and experienced practitioners alike.
Why English culture is bewitched by magic
From Merlin to Harry Potter, English magic has a long tradition. But what does it say about today's culture?
Thu 23 Feb 2012 14.04 CETE nglish occultist, bohemian and author Aleister Crowley defined magick as "the science and art of causing change to occur in conformity with will". Crowley's will was aided by the inheritance age 11 of a tidy fortune, and took him on a hedonistic ride through a life of sex, drugs and occult practice. Member of the Order of the Golden Dawn, founder of the mystery religion of Thelema, self declared spiritual master and Magus and, significantly, accomplished chess player, Crowley revelled in his notoriety as "the wickedest man alive". The Great Beast's polyamorous lifestyle would barely contend for such a title in today's more liberal and permissive world, and the philosophy of ordering your world in line with your will is one that seems entirely accepted in our individualist society.
The Book of English Magic by Philip Carr Gomm and Richard Heygate offers a thorough and illuminating history of magic and magicians in England. It reveals a 5,000-year tradition of English magic, stretching from Neolithic shamen and Anglo-Saxon "Wyrd Crafters" to modern Wiccans, New Age spiritualists and Neo-Pagan revivalists. Along the way it catalogues the remarkable interplay of fictional and historical figures who have influenced and shaped the history of English magic. The fictional wizards from Merlin to Harry Potter who have shaped our perceptions of magic. John Dee, mathematician, astrologer, occultist and consultant to Queen Elizabeth I, who like Crowley and other "practicing magicians" crafted a powerful fiction around the cult of their charismatic personality. And the writers and artists who have drawn on magic as inspiration for their creations or even, like WB Yeats, have been drawn in to the world of the occult.
Reading this secret history, ensconced in Topping & Company bookshop of Bath, the kind of independent bookseller that will gladly bring an idle browser a cup of tea as he muses on the nature of magic, and a location that could easily have been pulled from the pages of Susanna Clarke's Jonathan Strange and Mr Norrell, I was struck most by the rich history of magical English stories it catalogues. Also in Topping & Company could be found magical stories by JRR Tolkien, CS Lewis and of course the mighty JK Rowling herself (you don't have to have multiple initials to write magical stories for children, but it helps). Regardless of how you view The Book of English Magic's more eccentric thoughts on the reality of magic, it reminds us that Englishness and the English cultural identity have been intertwined with magicians and magic throughout their history.
No writer today is more associated with Englishness and magic than Neil Gaiman. Aleister Crowley makes a caricature appearance in the very first issue of The Sandman, as the magus Roderick Burgess, whose failed attempt to summon Death herself launched Gaiman's comic series. Throughout his career from The Books of Magic to American Gods and beyond, Gaiman has systematically reinvented the archetypal characters and symbols of magic in his stories. But he has yet to declare himself a practicing wizard, unlike his fellow comic writer Alan Moore, who recently detailed his worship of the snake deity Glycon in an alternative Thought for the Day on Radio 4. Moore's most potent work of magical writing is the From Hell comic series, which outlines a conspiracy theory of royal involvement in the Jack the Ripper murders, around which Moore explicates his complex ideas on the magical nature of reality, tackling masonic rituals and the architecture of Nicholas Hawksmoor along the way. And the pulp aesthetic of comics has also been a launching pad for one of magic's greatest advocates, Scottish writer Grant Morrison who in series such as The Invisibles and The Filth has created a complex philosophy synthesising magic and post-modernism, along the way penning the now iconic essay on Pop Magic.
Magic seems to live at the heart of English identity, as much today as millennia ago if the hordes reading Harry Potter are any indication. But even if we assume, as most rational Guardian-reading folk no doubt will, that magic is nothing but hokum, poppycock and superstition, it's interesting to ask why it has such a profound hold over our popular imagination. Perhaps Crowley, magus and chess master, provides a possible answer. As any good player knows, the strategies of chess are as relevant in the real world as on the playing board, and many a politician has studied that game to understand the larger games of politics and power.
Perhaps magic is another kind of game, where the symbols and theatricality of the occult mask metaphors for power to help us understand the "science and art of causing change to occur in conformity with will". No wonder we English, living with the lingering ghosts of Empire, an unreformed class system, and the complexities of a post-industrial economy, find such fascination in it
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It is a thought-provoking work that questions the shifting boundaries between south and north, naive and learned, magic and religion. Originally published in 1959 in Italian and now available in Dorothy Zinn’s precise translation, the book is part of the trilogy that makes de Martino (1908-1965) a seminal figure at the intersection of folklore, ethnology, and the historical and philosophical study of religion…. [Zinn] illuminates de Martino’s academic context and his usage of standard and nonstandard Italian, reflecting the work’s ethnographic focus on the southern region of Basilicata.
One of the standout features of this book is its exploration of English magical artifacts and objects. Throughout history, a myriad of magical artifacts have been associated with English magic, from amulets and talismans to ancient tomes and magical wands. Professor Smith provides detailed descriptions and accounts of these artifacts, delving into their origins, purposes, and powers. The English Book of Magical Practices also delves into the role of English magic in various historical events and literature. From its influence on medieval alchemy and witch trials to its portrayal in the works of famous English authors like J.R.R. Tolkien and J.K. Rowling, the book examines how English magic has shaped and been portrayed in different cultural contexts. In conclusion, The English Book of Magical Practices is a captivating and enlightening exploration of the world of English magic. Its comprehensive coverage of the history, practices, and cultural significance of English magic makes it an invaluable resource for anyone interested in the subject. Whether you are a seasoned practitioner or simply curious about the world of magic, this book is sure to provide you with a wealth of knowledge and inspiration..
Reviews for "Healing Magic: Tapping into The English Book's Restorative Powers"
1. John - 2 stars
I was really disappointed with "The English Book of Magical Practices". The book promised to provide a comprehensive guide to magical practices, but it fell short on delivering the promised content. The information provided was generic and lacked depth. It felt like the author just skimmed over the various topics without delving into the details that a reader with a serious interest in magic would expect. Additionally, the writing style was dry and uninspiring, making it difficult to stay engaged with the material. Overall, I wouldn't recommend this book to anyone looking for a thorough exploration of magical practices.
2. Sarah - 1 star
"The English Book of Magical Practices" was a complete waste of my time. The book lacked organization and coherence, jumping from one topic to another without any clear structure. It felt like the author was more interested in showcasing their knowledge of obscure magical terms rather than providing practical advice for readers. The lack of concrete examples or step-by-step instructions made it difficult to understand and implement the practices described in the book. The whole experience was frustrating and left me feeling like I had wasted my money. I would advise others to steer clear of this book.
3. Michael - 2 stars
I found "The English Book of Magical Practices" to be quite underwhelming. While the book touched upon various magical practices, it failed to provide any real depth or insight into them. The information presented felt superficial and lacked the nuance that is necessary for understanding and practicing magic. Furthermore, the book seemed to assume that readers already had a prior knowledge of magical concepts, which made it difficult for beginners like myself to grasp the content. Overall, I was left feeling unimpressed and unsatisfied with this book.