Necromancer, Part 2: Under the Shadow

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Spheres last 10 minutes. Restores an Undead target HP and deals damage to self, or deals damage to non-Undead and restores a portion of caster's HP. Damage dealt is Undead property.

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Heals Undead allies, and deals damage to non-Undead enemies. Undead and Demon enemies are not receiving this damage nor heals. Consumes 3 Spirit Spheres on use. Summons a Skeleton to a targeted cell that will last for up to seconds. Consumes 1 Skel-Bone on each cast. Single-target Ghost property spell. Undead monsters take additional damage. Drains small amount of caster's HP to inflict Ghost preperty AoE damage around caster and pull enemies a bit closer.

Has a chance of gaining Spirit Spheres on hit up to max 25 active Spheres at once and steal some SP from the enemy. If the target is affected by "Soul Harvest", this skill removes this debuff but deals an additional damage based of target's missing SP. Consumes all Spirit Spheres though damage is further increased for each Sphere used on cast. Requires Soul Harvest to be cast withing last 60 seconds.

From what I've heard, their new album Clockwork Angels is supposed to be a concept album, or at least parts of it are. Location: Buda, TX. I like the whole thing, narration included. I like Neil Peart's low voice. Cymbaline , Jan 10, Location: Melbourne Australia. Best Rush song ever i my opinion Jimmy Agates , Jan 10, Location: Mexico, NY.

Yeah I love this track with the narration. I think it makes for a contrast with Geddy's vocals. I could understand how someone else might not care for it though. Hey if it's ever released in 5. Skyflash , Jan 10, The narration and the first 2 sections are fine-what doesn't work is "Return of the prince" which shamelesly rip-off "Sweet Jane" by the Velvets. Yeah, the narration on Necromancer is a bit goofy, but I just couldn't see taking it out. It's part of the fun! Location: Maryland. Todd W.

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Location: USA. It took place in the Coliseum at Rome. Happening one day to have some conversation with him, where the subject turned upon the art of necromancy, I, who had a great desire to know something of the matter, told him, that I had all my life had a curiosity to be acquainted with the mysteries of this art. The priest made answer, that the man must be of a resolute and steady temper, who entered on that study. I replied, that I had fortitude and resolution enough to desire to be initiated in it.

He likewise brought with him all sorts of precious perfumes and fire, with some compositions which diffused noisome and bad odours. As soon as he was in readiness, he made an opening to the circle, and took us by the hand, and ordered the other necromancer, his partner, to throw perfumes into the fire at a proper time, intrusting the care of the fire and the perfumes to the rest; and then he began his incantations.

Rush "The Necromancer"

I took with me my apprentice, who was about twelve years of age…When we came to the place appointed, the priest, having made his preparations as before with the same and even more striking ceremonies, placed us within the circle, which he had drawn with a more wonderful art and in a more solemn manner, than at our former meeting.

Thus having committed the care of the perfumes and the fire to my friend Vincenzio, who was assisted by Gaddi, he put into my hands a pintacolo , or magical chart, and bid me turn it towards the places to which he should direct me; and under the pintacolo I held my apprentice. The necromancer, having begun to make his most tremendous invocations, called by their names a multitude of demons who were the leaders of the several legions, and questioned them, by the virtue and power of the eternal, uncreated God, who lives for ever, in the Hebrew language, as also in Latin and Greek; insomuch that the amphitheatre was filled, almost in an instant, with demons a hundred times more numerous than at the former conjuration.

Vincenzio meanwhile was busied in making a fire with the assistance of Gaddi, and burning a great quantity of precious perfumes. I, by the direction of the necromancer, again desired to be in company with my Angelica.


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At the same time the boy under the pintacolo was in a terrible fright, saying, that there were in the place a million of fierce men who threatened to destroy us; and that, besides, there were four armed giants of enormous stature, who endeavoured to break into our circle. During this time, while the necromancer, trembling with fear, endeavoured by mild means to dismiss them in the best way he could, Vincenzio, who quivered like an aspen leaf, took care of the perfumes.

Though I was as much afraid as any of them, I did my utmost to conceal it; so that I greatly contributed to inspire the rest with resolution; but the truth is, I gave myself over for a dead man, seeing the horrid fright the necromancer was in. The necromancer intreated me to have a good heart, and to take care to burn proper perfumes; upon which I turned to Vincenzio, and bade him burn all the most precious perfumes he had.

At the same time I cast my eyes upon Gaddi, who was terrified to such a degree, that he could scarcely distinguish objects, and seemed to be half dead. The boy again told us, that there remained but few devils, and those were at a great distance. When the magician had performed the rest of his ceremonies, he stripped off his gown, and took up a wallet full of books, which he had brought with him.

We all went out of the circle together, keeping as close to each other as we possibly could, especially the boy, who placed himself in the middle, holding the necromancer by the coat, and me by the cloak…Two of the demons whom we had seen at the amphitheatre, went on before us leaping and skipping, sometimes running upon the roofs of the houses, and sometimes on the ground.

The priest declared that, as often as he had entered magic circles, nothing so extraordinary had ever happened to him. As we went along, he would fain have persuaded me to assist at the consecrating a book, from which he said we should derive immense riches. We should then ask the demons to discover to us the various treasures with which the earth abounds, which would raise us to opulence and power; but that those love-affairs were mere follies from which no good could be expected.


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I made answer, that I would readily have accepted his proposal if I had understood Latin…Immediately subsequent to this scene, Cellini got into one of those scrapes, in which he was so frequently involved by his own violence and ferocity; and the connection was never again renewed.

The first remark that arises out of this narrative is, that nothing is actually done by the supernatural personages which are exhibited. The magician reports certain answers as given by the demons; but these answers do not appear to have been heard from any lips but those of him who was the creator or cause of the scene.

The whole of the demons therefore were merely figures, produced by the magic lantern which is said to have been invented by Roger Bacon , or by something of that nature. The burning of the perfumes served to produce a dense atmosphere, that was calculated to exaggerate, and render more formidable and terrific, the figures which were exhibited. The magic lantern, which is now the amusement only of servant-maids, and boys at school in their holidays, served at this remote period, and when the power of optical delusions was unknown, to terrify men of wisdom and penetration, and make them believe that legions of devils from the infernal regions were come among them, to produce the most horrible effects, and suspend and invert the laws of nature.

John Dee was a man who made a conspicuous figure in the sixteenth century. He was born at London in the year He was an eminent mathematician, and an indefatigable scholar.

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He says of himself, that, having been sent to Cambridge when he was fifteen, he persisted for several years in allowing himself only four hours for sleep in the twenty-four, and two for food and refreshment, and that he constantly occupied the remaining eighteen the time for divine service only excepted in study.

At Cambridge he superintended the exhibition of a Greek play of Aristophanes, among the machinery of which he introduced an artificial scarabaeus, or beetle, which flew up to the palace of Jupiter, with a man on his back, and a basket of provisions. The ignorant and astonished spectators ascribed this feat to the arts of the magician…. The principal study of Dee however at this time lay in astrology; and accordingly, upon the accession of Elizabeth, Robert Dudley, her chief favourite, was sent to consult the doctor as to the aspect of the stars, that they might fix on an auspicious day for celebrating her coronation.

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Some years after we find him again on the continent; and in , being taken ill at Louvaine, we are told the queen sent over two physicians to accomplish his cure. Elizabeth afterwards visited him at his house at Mortlake, that she might view his magazine of mathematical instruments and curiosities; and about this time employed him to defend her title to countries discovered in different parts of the globe.

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Had Dee gone no further than this, he would undoubtedly have ranked among the profoundest scholars and most eminent geniuses that adorned the reign of the maiden queen. But he was unfortunately cursed with an ambition that nothing could satisfy; and, having accustomed his mind to the wildest reveries, and wrought himself up to an extravagant pitch of enthusiasm, he pursued a course that involved him in much calamity, and clouded all his latter days with misery and ruin. It is almost impossible to decide among these things, how much was illusion, and how much was forgery.


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Both were inextricably mixed in his proceedings; and this extraordinary victim probably could not in his most dispassionate moments precisely distinguish what belonged to the one, and what to the other. As Dee was an enthusiast, so he perpetually interposed in his meditations prayers of the greatest emphasis and fervour.

As he was one day in November , engaged in these devout exercises, he says that there appeared to him the angel Uriel at the west window of his Museum, who gave him a translucent stone, or chrystal, of a convex form, that had the quality, when intently surveyed, of presenting apparitions, and even emitting sounds, in consequence of which the observer could hold conversations, ask questions and receive answers from the figures he saw in the mirror. It was often necessary that the stone should be turned one way and another in different positions, before the person who consulted it gained the right focus; and then the objects to be observed would sometimes shew themselves on the surface of the stone, and sometime in different parts of the room by virtue of the action of the stone.