The term "necromancy" in literature is portrayed as a multifaceted practice, one that straddles the lines between divination, dark magic, and moral ambiguity. In some texts, it is equated with other forms of future-telling—such as hydromancy in [1]—underscoring its use as a tool for foreseeing events through supernatural means. In contrast, authors like Harriet Beecher Stowe in [2] imbue necromancy with an aura of malevolence, transforming even the pure and sacred into objects of horror. Meanwhile, in works like those of Sir John Mandeville [3] and Marco Polo [4], necromancy is acknowledged as an enigmatic practice whose mechanisms, whether through craft or mystery, invite both wonder and skepticism. Sir Thomas Malory’s depiction in [5] and the allusions by Rabelais in [6] further associate necromancy with the pursuit of secret knowledge, albeit sometimes for dubious ends. Finally, its recurring connection to divination and the exploration of forbidden realms is echoed in both Charles Mackay’s [7] account and the critical tone of Jonathan Swift [8] and Walter Scott [9], where it is often linked with attempts to cloak malevolence or fraud. Overall, the term weaves through literature as a symbol of enigmatic power, reflecting both the fear and fascination it inspires.