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Ursula K. Le Guin's A Wizard of Earthsea explored the question of how wizards learned their art, introducing to modern fantasy the role of the wizard as the protagonist. [9] This theme has been further developed in modern fantasy, often leading to wizards as heroes on their own quests. [10] Such heroes may have their own mentor, a wizard as well.
The word nagual derives from the Nahuatl word nāhualli [naˈwaːlːi], an indigenous religious practitioner, identified by the Spanish as a 'magician'. In English, the word is often translated as "transforming witch," but translations without negative connotations include "transforming trickster," "shape shifter," "pure spirit," or "pure being."
The typical protagonist is a violent, self-respecting and emotional barbarian who values freedom. The main character often has the characteristics of an antihero. [10] Although the main character mostly behaves heroically, he may ally with an enemy or sacrifice an ally in order to survive. [11] A hero's main weapons are cunning and physical ...
The Free Library has a separate homepage. It is a free reference website that offers full-text versions of classic literary works by hundreds of authors. It is also a news aggregator, offering articles from a large collection of periodicals containing over four million articles dating back to 1984. Newly published articles are added to the site ...
Kapala used by mantrik. A Mantrik or mantric is someone who specializes in practicing mantra. [1] In the Indian subcontinent, the word mantrik & similar names are synonymous with magician in different languages.
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The Sorcerer's Treasure contains very little evocation, [5] instead drawing upon oral traditions relating to divination, healing spells, prayers [6] (including some to one's guardian angel), exorcisms, love magic, the locations of buried treasures throughout Galicia, and sometimes even treatises on animal magnetism-- all set within a framework ...
There are two sources for the text Gardner used to make this chant. The opening lines, with their repeated Eko eko refrain, apparently come from an article published in a 1921 edition of the journal Form [5] by J. F. C. Fuller, on "The Black Arts", reprinted in The Occult Review in April 1926, though "The Occult Review" 1923 is frequently mis-cited.