According to Eissfeldt, this 7th-century reform abolished the child sacrifice that had hitherto been an acceptable part of the cult of Yahweh. Paul G. Mosca's "Child Sacrifice in Canaanite and Israelite Religion: A Study in Mulk and Molech" (1975) similarly argued in support of the theory that child sacrifice ("molk") to Yahweh was practiced until the Deuteronomic reform of the 7th century BC. Moshe Weinfield (1972) once again revived the "februarist" position, suggesting that the practice of "passing through fire" prohibited for the Israelites in Leviticus did not refer to actual child sacrifice but to a symbolic rite in which infants were passed across a flame. Smith (1975) responded to this proposal by arguing that the Hebrew phrase implies a translation of "to burn" rather than "to pass between flame". John Day (1989) argued for the existence of a god named Molek based on Ugaritic evidence. In John Milton's "Paradise Lost" (1667), Moloch is one of the greatest warriors of the fallen angels, He is listed among the chief of Satan's angels in Book I, and is given a speech at the parliament of Hell in Book 2:43–105, where he argues for immediate warfare against God. He later becomes revered as a pagan god on Earth. Gustave Flaubert's "Salammbô", a semi-historical novel about Carthage published in 1862, included a version of the Carthaginian religion, including the god Moloch, whom he characterized as a god to whom the Carthaginians offered children. Flaubert described this Moloch mostly according to the Rabbinic descriptions, but with a few of his own additions. From chapter 7:  Chapter 13 describes how, in desperate attempt to call down rain, the image of Moloch was brought to the center of Carthage, how the arms of the image were moved by the pulling of chains by the priests (apparently Flaubert's own invention), and then describes the sacrifices made to Moloch. First grain and animals of various kinds were placed in compartments within the statue (as in the Rabbinic account). Then the children were offered, at first a few, and then more and more. Italian director Giovanni Pastrone's silent film "Cabiria" (1914) was largely based on "Salammbô" and included an enormous image of Moloch modeled on Flaubert's description.