This Week’s Prompt: 84. Hideous cracked discords of bass musick from (ruin’d) organ in (abandon’d) abbey or cathedral.
The Resulting Story:
Well. This is going to be quite an article. So, this prompt through something of a wrench in my normal mode of writing and making this blog—which is, to latch onto a part of the prompt and pick it apart in folklore, then build a story off the folklore as possible. The problem, however, with this one was that the obvious option—the ruined organ—wasn’t easily found. While there is some possible work around by focusing on the abandoned church or cathedral, that felt a bit well trodden. So I turned instead to finding out if there was a story this was from. This is a good fallback, if things are too repetitive, and generally I can extract something from Lovecraft’s original work, even if it’s distasteful. And then…there’s this one.
So this prompt was used for a Lovecraft story—specifically Red Hook, name sake I assume of Red Hook Studios. The story is, to be entirely honest, a shocking cavalcade of terrible writing that aligns with the worst aspects of humanity at the moment. I have never denied that Lovecraft had troubling works—the man was by all accounts a racist of the highest caliber. What makes this particular story difficult is that the elements of the story are almost identical to the confluence of conspiracies that exist to this day—a secret satanic cult, primarily attended by middle eastern immigrants, that kidnaps children (to Lovecraft’s ‘credit’, the children kidnappings get the police attention only after stealing Swedish children, but that is the smallest of credits), and ends with a mass deportation before a vision of hell is—and I am not going to try and indulge in rehabilitating such a story as I might say for…Innsmouth, where the basic building blocks can be recovered somewhat.
That last prompt that operated this way I responded to with a brief overview of the community that Mr. Lovecraft seemed to be slandering—and in the instance of Red Hook there is even less speculation needed. I will get to the exact issues I ran into researching the matter. I did endevaor to do more indepth and modern research on the Yazidi(Yezidi? Sources used both names), but that has resulted in it’s own difficulties.
Bear with me, I promise, we’ll get to the stories of Peacock Angel and the various saints in a moment. I wanted to first show at least some self awareness on where this is going. As you may know, I primarily rely on public domain texts. There are a few reasons for that—partly, it’s cost. I don’t have the personal funds to acquire the latest research, and the amount of folklore research in the public domain is astoundingly vast. While not comprehensive, my access to public domain works has covered a wide number of topics, and allowed me to avoid losing funds. It also means you, my readers, can hopefully track down the texts for yourself to read if you want to. The other reason, however, is that such folklore tends to be of such an age that I feel drawing on it as a source of inspiration is…uncomplicated. That is not the case with the Yezidi.
Why? Well, let’s discuss the Yezidi. The Yezidi are a small Kurdish religious minority who are known for a distinct belief system compared to the rest of the Near East—one that has repeatedly attracted attention and derision from nearby communities. We only need look at the most comprehensive book availble in Lovecraft’s time to see why—Devil Worshipers and their Rituals. This book was published in 1912, but the accusation of devil worship among the Yezidi is much older than that.
With that context in mind, I had initially planned to dismiss the original book as a footnote and focus on more modern research—and mostly, I have. Modern research on the topic has hit a number of further walls however. As is unsurprising for a community of believers who have suffered repeated persecution for centuries, the Yezidi are not exactly open about their religious beliefs. The book that was recorded in 1912 was not a Yezidi original, but a synopsis of beliefs from neighbors—and again may be rife with errors. On the other hand, the Yezidi themselves have cultivated a habit about misleading officials and investigators about their beliefs.
But what are those beliefs, now that I’ve spent more than half the usual length of an article with all this preamble? Well, lets begin…with the beginning.
In the beginning, God (Xwade) created a pearl of His pure essence and placed it on the back of a dove named Anfar. The essence stayed there for forty thousand years. After that, God created on the first day Maluk Tawus, the Peacock Angel and lord of all. On each successive day, he creates another angel: Dardail, Sheikh Hasan; Israfil, Sheikh Shams; Mikail, Sheikh Abu Bakr; Jabrail or Gabriel, who is Sidjaddin; Shamnail, who is Nasraddin; and Turail. We’ll discuss more of these as time goes on—especially, of course, Maluk Tawus, lord of all.
God then finishes creation from the great pearl—one story records that He does so by shouting at the pearl, shattering it into four pieces. He then dwelled in a vessel for thirty thousand years on the oceans, before shouting again to make sea solid as he dwelt on Mount Lalis. Eventually he informs the angels that he will create Adam and Eve—and from Adam alone will the Yezidi people come, who are the people of Maluk Tawus.
An interlude, attested to in a few versions, occurs as God dwells on the Black Mountain and shouts thirty thousand angels into existence. They worship him for thirty thousand years and are sent to heaven with Maluk Tawus.
Adam is then made from the four elements brought by Jabrail, and Jabrail is told to take him to paradise and allow him any food but wheat. And so it is for over a hundred years.
Maluk Tawus then asks how Adam is meant to multiply in this state—And God gives him, Maluk, power over the issue. Maluk then asks Adam if has tried wheat, and offers him some. Adam’s belly swells with the wheat and he is cast out—and in a moment of comedy to me, he is eventually given a rear end so that his belly unswells.
Briefly, a variation of this story says that the soul was out of Adam for seven hundred years—entering only when promised paradise. While Adam was in paradise, he was like an angel with a great light of his forehead, until expelled. His expulsion here was more trickery, although still with divine approval—here Maluk Tawus tosses the wheat into Adam’s mouth while he yawns.
After a hundred years of being alone from the garden, Jabrial is sent out to provide him a companion—Eve. Adam and Eve produce the first child, but a dispute emerges as to who is the primary parent. To determine who’s seed was responsible for human kind, they took a pair of jars and put their seed in separate containers. After nine months, they opened the jars. Eve’s jar emerged with maggots, worms, serpents, and scorpions—where as Adam’s has a child with a face like the moon, Shahid bin Jarr. Shahid marries either a houri from Paradise, or his own sister born from the Jarr. And from here comes the Yezidi. In an aside, one version says men’s nipples were made to suckle Shahid bin Jarr.
Seth, Noah, and Enoch are descendants of Shahid bin Jarr, where as the other peoples of the world come from Adam and Eve’s progeny.
Moving forward, there was another flood for the Yezidi, who further trace themselves from Ham. At the time of this second flood, they were ruled by Melek Miran. As before, a great vessel was made to sustain themselves—however, unlike the more traditional ark, this ark ran into Mount Shinraj. A hole was made in the ark, and a great serpent offered to fill it in exchange for the right to eat human flesh. Melek Miran—or, in another version, Noah—agrees with consternation. Afterwards, the serpents numbers multiply, such that he threatens to eat all mankind. But a man of honor cannot break his vow, so Melek Miran asks for help. Jabrial instructs Melek Miran to toss the serpent into the fire—there it becomes fleas which feed on human kind to this day.
There are further stories in the Black Book, but I will bring into focus a few more that I found confirmed in modern texts, before moving on to the stories of saintly figures and members of the folk pantheon. One is the division of Maluk Tawus into the other angels, to make a group of seven chiefs. These seven meet every year to determine the fate of the next year on the holy day. Further, the angels are said to incarnate among the Yezidi and have granted to Solomon seven standards or sanjaq that display Maluk Tawus atop them. Each is ascribed to an archangel—and supposedly designed very differently, but topped with Maluk Tawus none the less. These eventually were given to the Yezidi by their most recent founder when Solomon passed away.
These images sometimes display traits comparable to the icons we have discussed elsewhere—in one village, a sanjaq appeared after following an angels dream instructions. When war threatened, a number of these images were taken far away, and have since emerged elsewhere. The stories around the sanjaq introduce the interesting notion that blue is a color Maluk Tawus finds offensive—a trait I recall but cannot confirm at the moment being true in Kabbalistic texts on dreams.
We can discuss some of these characters in more detail, however. Sheykh Shams, the angel made early on, is traced to a historical figure—son of ‘Adi II, third leader of the Adawiyya—and has since become a celestial patron of the sun. Sheykh Shams is sometimes associated with traits of the broadhead—light eyes, Isa, and even the essence of religion. Shams has also been called the bearer of the seal, the torch bearer for the community, the holder of spiritual knowledge, and having command over Hell itself. He has twelve children—nine sons, three daughters, each a representative for the month.
Yezidi belief also attributes reverence for Sheykh to Jews and Christians, but not Muslims. The source of this assertion is unclear, as is the association with the Tartars.
Sheykh Shams’s brother, Malak Faxradin, is the moon associated being of the same sort. He is far more enigmatic, and his association is less clear. A few liturgies refer to his roll as a lord of the disk, and he is known for his capacity to cure lunacy, and to have created the role of reciter in his day. The moon has powers over floods and earthquakes as well—and in some cases is in fact the Sun’s sister that he pursues until the eclipse (the Yezidi also suggest that a great serpent is eathing the sun during an eclipse). The change of the moon is said to be from Brother-Moon’s one way love withering him away until he is reborn.
Earthquakes also are caused by the shifting of the red bull that is holding up creation. The source of this movement is sometimes idleness, other times a fly that buzzes around the bulls head constantly—the blinking the bull does when the fly gets close is the cause of the quakes.
Other heavenly bodies have their own traits. Stars are tied to the lives of men—a man’s star winks out when dies, and appears when he is born. The rainbow is said to be Solomon’s belt, and by standing under it a wish can be granted. Walking beneath and across it can change a person’s gender.
Thunder and storms however bring us to another new entity: Mamarasan, the darting Mohammed, is the common lord of wind and thunder. There are two others, Aba-brisuk and Malak Ba-ras, who’s disputes create hurricanes—their individual breath is the wind, so when it swirls and clatters, it isn’t supring that a storm emerges. Mama-rasan rides a lion frequently, and holds a snake as a whip—however, in one origin story, he proves his holiness not by mounting a lion but by riding a stone. This is a common motif in saints tales of the region, ranging from riding stones to riding broken portions of wall to meet lesser saints.
Another ariel power is Sex Muse-Sor, or the Red Sheikh Moses. Families that trace their origins to this spirit are said to have the power to cure diseases in lungs and joints, including rheumatism. This extends to his home, a shrine around which the ground is holy. His color, red, is emphasized to mark him as holy and at times he has held the title of lord of the pen and tablet—although that has passed on to others.
There is one more cosmological force we have not discussed—mainly because my research on him separated him from the rest of the godhead. We can consider Dweres Erd, lord of the Earth. Dweres is primary invoked in a funerary prayer and in later toasts, where he is viewed as the lord of the dead. In addition to protecting the dead, Dweres Erd protects the any abandoned objects that are expected to be found again nearby. For the dead, Dweres Erd guards both body and soul from predation while the angels of heaven come to judge the departed.
Moving out of the land of the supreme gods, I would like to discuss some of the more local characters found with the Yezidi—particularly stories of saints and their manifestations. We can consider, for instance, Sheikh Mend, who had associations with serpents. His descendants cannot be bitten by them, and they can cure, and the Sheikh himself turned into a great black snake to drive away invading enemies. A similar snake tale tells of how two Christians , Henna and Mar Henna, turned into snakes to kill Sheikh Adi—only for Sheikh Adi to turn into one of his older incarnations, their old teacher, and be recognized as holy.
We have fragments of other mythological characters. We have references to the book of the serpents laughter, a tome of knowledge and wisdom that snakes are in possession of. Bits of the myth of Pira Fat remain, a daughter of the moon and patroness of women in labor. Pira Fat was notable for preserving the seed of the Yazidi people for seven hundred or seven thousand years. We have the king of the djinn, Jinn Tayar or the flying djinn. His descendants can heal ailments of the soul, and has many beings.
This all brings me to my second process memo like portion. How do I make this into a story? This question is what severely damaged the Court story—while I found many Romani folktales, relating them to the prompt directly proved almost impossible. In retrospect, there were certainly ways to relate specific aspects, but there was a sharp disconnect between the story I wrote and the research I did. Not a surprising disconnect—the research was a response to the prompt, but a wholly negative one.
This research presents the same problem that is frequent in folktales, but especially religious or mythic ones. The essence can be a bit bare on the bones, and takes time to be turned into something that feels inspired by the research as opposed to merely retelling it. And sometimes I just retell it—the Bacchae story and the Bluebeard story are both retelling. So what to do with this living religion? What concepts can I use?
I think immediately, with a cosmogony like many of these stories, there is a temptation to include them as factoids or to retell them in more detail. Alternatively, to make the discovery of such a story part of the plot—finding the pots that Adam and Eve used, or the mountain where maybe God’s laughter and shouting can be found carved into the world. These are…acceptable, but I feel like as plot elements they are too high minded.
So what notions did I find fascinating in this research? The creation of fleas by burnt serpent was interesting, but I want to hold that in reserve—I’ve come across a number of similar stories in the world, for both fleas and mosquitoes, that I’d like to compare it to. The other recurring aspect I found interesting was the pearl—or rather, the notion of cultivated and stored essence, to create a greater than normal birth.
The idea of a carefully cultivated essence—in the form of a pearl, often enough, but also a seed—hatching or breaking to reveal a greater cosmic power has potential in a story, modern or otherwise. It gives us an event—when the pearl cracks—and the image is not so tied to a mythic past that it is impossible (although a literal version of the Adam and Eve story would be). We can build a story around this—around the people who are carefully nourishing this cosmic egg, around what emerges from it. We can even include the strange music from a broken organ, as an omen or related to the process.
Astarian, Garnik and Arakelova, Victoria, “The Yezidi Pantheon” Iran & the Caucasus, Vol. 8, No. 2 (2004), pp. 231-279
Astarian, Garnik and Arakelova, Victoria, “Malak-Tāwūs: The Peacock Angel of the Yezidis” Iran & the Caucasus, Vol. 7, No. 1/2 (2003), pp. 1-36
Arakelova, Victoria, “Three Figures from the Yezidi Folk Pantheon” Iran & the Caucasus, Vol. 6, No. 1/2 (2002), pp. 57-73
Joseph, Isaya. Devil Worship. Richard G. Badger, Boston 1919
Nicolaus, Peter “The Serpent Symbolism in the Yezidi Religious Tradition and the Snake in Yerevan” Iran & the Caucasus, Vol. 15, No. 1/2, Jubilee Volume (2011), pp. 49-72
Spat, Eszter “Shahid bin Jarr, Forefather of the Yezidis and the Gnostic Seed of Seth” Iran & the Caucasus, Vol. 6, No. 1/2 (2002), pp. 27-56
Voskanian, Vardan, “Dewrēš E’rd: The Yezidi Lord of the Earth” Iran & the Caucasus, Vol. 3/4 (1999/2000), pp. 159-166