A Treatise on the Diseases Produced By Onanism, Masturbation, Self-Pollution, and Other Excesses, a classical book, has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

This book is a monograph on the physical health of sexual behavior. The content includes the dangers of excessive masturbation and excessive sexually transmitted diseases, as well as the power of the genitals at rest, the power of the genitals when excited, and the power of the genitals when they are active.

To those who would complain of the publication of a work upon the delicate subject to which the following pages refer, we would remark, that the evil here depicted, is one of great magnitude. This cause of disease is often entirely overlooked even by medical men, either from false notions of delicacy, or because their attention has not been drawn by fearful experience to cases which are ascribable merely to onanism. The patient is unconscious of his danger, and perseveres in his vicious habit-the physician treats him symptomatically, and death soon closes the scene. "Many a young man," remarked a physician, who had seen much of disease from this cause, "many a one has come to me, totally unconscious that his criminal act was sapping to the very foundation his health and strength."

This book addresses one of the most hotly contested debates in contemporary cultural life: the question of how anti-Semitism figures in the operas of Richard Wagner. Until now, scholars have generally acknowledged Wagner's anti-Semitism but have argued that it is irrelevant to the operas themselves. Marc A. Weiner challenges that traditional view by asserting that anti-Semitism is a crucial, pervasive feature in Wagner's operas. Weiner argues that the operas exemplify and contribute to a vast collection of images that are patently anti-Semitic - and that were readily recognized as such by nineteenth-century German audiences. These images were associated particularly with the body. Through a careful examination of Wagner's music, libretti, and stage directions, Weiner reconstructs iconographies of corporeal images - iconographies of the eye, voice, smell, gait, and sexuality - that were essential to the operas and were "associated with anti-Semitism and the longing for an imagined German community".