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camelia elias, peter mark adams, game of saturn " data-medium-file="https://taroflexions.files.wordpress.com/2017/05/photo-04-05-17-11-49-47.jpg? w=300" data-large-file="https://taroflexions.files.wordpress.com/2017/05/photo-04-05-17-11-49-47.jpg? w=740&h=740 740w, https://taroflexions.files.wordpress.com/2017/05/photo-04-05-17-11-49-47.jpg? w=1480&h=1480 1480w, https://taroflexions.files.wordpress.com/2017/05/photo-04-05-17-11-49-47.jpg? w=150&h=150 150w, https://taroflexions.files.wordpress.com/2017/05/photo-04-05-17-11-49-47.jpg? w=300&h=300 300w, https://taroflexions.files.wordpress.com/2017/05/photo-04-05-17-11-49-47.jpg? w=768&h=768 768w, https://taroflexions.files.wordpress.com/2017/05/photo-04-05-17-11-49-47.jpg? w=1024&h=1024 1024w" sizes="(max-width: 740px) 100vw, 740px" / Indeed, let us appreciate it when the author says this, in his introduction (xiv): ‘In essence this work is a literary detective story’.

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However, what gives the deck its flavor is Neoplatonic thought as filtered through the gnostic lens of the Mythraic mystery cult (99).

Adams gives very detailed descriptions of all the lines he pulls together, making the book an Encyclopedia of what might go into the context of constructing a ‘hidden gnostic grimoir’ (246).

The ‘convincing argument’ cannot be part of the program, when what we’re dealing with here is an obscure artefact whose date of origin is still debatable.

Consequently, in this essay I’m more interested in looking at how the author is advancing an idea and whether I find it exciting, rather than evaluate to what extent I ‘buy’ the story.

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