The Magi and King Morgan Pt 2

This Week’s Prompt: 83. Quotation “. . . a defunct nightmare, which had perished in the midst of its wickedness, and left its flabby corpse on the breast of the tormented one, to be gotten rid of as it might.”—Hawthorne

The Prior Research:The Eye

Part 1:The Magi and King Morgan Part 1

The palace of King Morgan was adorned with thin metal chains—each link held a small carving, word, or gem. They fanned outward, along wires across the city of Lanmoth. Mothers told their sons that the net caught the nightmares of the world, and forced the strange things of the world to pay proper homage when they entered. As Lawerence and the stranger came through the great doors, they reached the growing spindles and thick knotted chords of metal. It caused the stranger no small discomfort, Lawerence noticed, to see that central triumph of the court.

The pillar rose like a tree in the center of the room, a column of woven metals and gems that shown like thunder’s net. Fires were set all around it, so auspicious shadows were cast upon the veils of the court. Each magistrate and lord sat hidden in their own parlor, sequestered from the world. The royal chamber, which occupied the man entrance, was covered by a great purple and white curtain. Three sets of eyes in bright red were painted on it—one for the king, one for the queen, and one for the princess.

King Morgan's Veil.png

Lawerence bowed to these painted eyes, and introduced the stranger as a son of the River Liliu, a worker of wonders. There was silence at first, but a steady music played from King Morgan’s chamber.

“What feat will you will work for us first?” The King’s voice said, muffled somewhat. The stranger smiled at the familiar tone.

“First, if it please the king, I will do a humble and simple spell. It is tiring, however, so it will be all I can for today—I have worked many wonders in the market, and my powers are taxed. However, bring me a bird—I will send the bird unto the realm of the dead and call her back again!”

There was a shuffling from the court, gasps behind heavy cloth where only the outlines could be seen. At last the King let out a call for a spectacular song bird—one as large as a man. It was brought forth, and slipped from it’s handlers hand! There was a shout of surprise, as it threatened to run amok with it’s talons and fierce beak! And then the many colored eyes of the stranger fell upon it.

“Sh, sh there’s no need for that…” the stranger coaxed, extending his free hand and gesturing for the bird to draw close. Slowly the bird stepped forward, one claw at a time.

“There we go, there we go, that’s better. Now, the act.” The stranger said, turning to the king’s chamber, a hand under the bird’s beak. “My wise king, surely you will fear that my act is merely some mesmerism—that I have done this through a commanding eye, and thus faked my wonders. I ask only that my friend, this fine subject of yours, confirm my wonder at each step. For with such a veil, could my eyes harm him?”

There was a general assent.

The stranger then turned to the bird, and held out his hand—and the bird grew stiff. The stranger spoke few words, in a language unknown to most there—and the one who might have understood could not, for the veil muffled those drolling words. The bird stretched its neck up, its feathers flattening until, at last, it fell on it’s side. The stranger, unbreaking from his stance, gestured for Lawerence to examine the bird. Lawerence, bewildered, rushed to the bird’s side, and proclaimed not a sound or motion was coming from the body—it was as cold as ice!

The stranger raised his staff up. A sudden whistling sound filled the are and the bird sprung upright again, it’s beak nearly sheering Lawrence’s veil.

“If this is you exhausted, friend, you may stay as long as you produce such wonders. Go, Lawerence, and take him to chambers to rest.”

When Lawerence left, Bartholomew was summoned to the King’s side—and entered the veils to the royal family. King Morgan alone was there, his wife and daughter not having come to court today. The King drummed his fingers on his secret throne.

“Bartholomew, this man we must keep under careful guard. He knows magics unseen—be ready at my word to strike him down, for he seems familiar to me.”

“As you wish, my king.” Bartholomew said, nodding.

“And take this, to guard you from his gaze. It is stronger then most—I fear it would rend your veil asunder.” the King said, handing him a charm—carved of coral, with each hole filled with a small pearl. “Our guest has come with higher purpose—and I will not allow it to be fufilled.”

The stranger was taken to the highest quarters, nestled not far from the veiled halls of the king and queen. His room had many fine things, most from lands far from Lanmoth, but that had been offered as gifts or tributes to it’s royal family. The stranger of course had little need for the finery, even as he admired them. As the King suspected, he had a higher cause.

He called to him, in that room when none were about, his many half-brothers. They were gray things, more mist then men, that were unused to these homes. They preferred the ruins of their old lives, but answered their half-brothers soft conch call. The stranger set them about to touch the great pillar, the shifting and shimmering heart of the city wide talisman.

The brothers slipped beneath the door as mists, slinking on barely seen hands and feet in the moonlight, until at last they reached the pillar with it’s many layered chains. As they reached, the chain’s light took hardened form and pricked their fingers. The gold stung like scorpions and bit like snakes. The many small gems shone like Argus’s hungry eyes, and the brothers retreated.

They had thought as much. The trip from their father’s house had been long, but entry into the city had been hard going on them. Their half-brother, with his flesh and blood and breath, found it easy. But they were afforded no-such protections. Working wonders for him on birds and buildings they could do. But not tear down the pillar.

The stranger thanked them in the customary way, with an offering and some incense. He then set about planning his mischief.

That night, the stranger lay to sleep in his special way—stepping outside of himself, as he began to dwell as one with the world. For beneath the world, below the laws of men and gods, there are great sleeping things. Their minds are the bedrock of the world we see.

So the stranger dreamed as they dreamed, as he dreamed on Mount Moni. He walked in the waking world as little more than a breeze. The great talisman in the court shone through the walls at him, glowering as the enraged sun. He made no effort to hide from it, even as it corroded on his skin. The mists of Mount Moni were not here to aid him.

Still, he stalked down the halls, flickering with each step—in but three steps he covered the entire palace, to find the room of the King and Queen. He reached to go through the door, but felt the singe of the many golden chains and tailsmans, as they gently rang at his attempt. Within, he saw the king stir. So the stranger took to the ceilings, working his way in the upper air of the building, eyes wandering and marking where he could.

As the wind, the stranger felt another presence. Another person breathing in the halls. With a single motion, he arrived at where she was—the princess of Lanmoth, looking out the window at the pale-veiled moon.

The stranger moved as a wind around the moonlight, and listened quietly. He stared down at the girl, her face a mirror of the moon. The stranger found her eyes like his—in them where a dozen dancing colors, even if they lacked his training in the arts. His gaze was lost navigating hers at times, as he tried now to complete his higher cause—but his eyes barely took root, when she stared back at him.

Magi and King 2 Midnight Chat.png

They frightened him.

The stranger knew how to guide and protect his own gaze, even as he stood nought but the sigh of sleep in front of her. The stranger was schooled in many ways of magic from his adoptive father. But the stranger was now locked in eyes that were as gifted as his.

The stranger explained his intent, even as he struggled at being held still. She gave hers. The two were locked in wits—an observer the next day would note the room smelled of burnt flesh from the confrontation, and one passerby saw ripples of colors between the two. They talked as the old dreaming things talked.

The next day, the whole royal family was behind the veils of the court. The song birds in their cages watched and waited. The brilliant eyed stranger, the only face that could be seen, prepared another preformance. This time, there was no need for his staff—he had shown it’s greatest power already, and instead chose a more terrible feat. The king had asked more pressingly for something less unnatural then another raising or convulsion.

And the stranger was ready to oblige. He had, after all, a test to preform.

So, setting his staff of bone to the side, the stranger breathed in deeply—his own breath, mixed with the toxic breath of dreams that his family had. And he stared ahead, his eyes glittering. He reached out a hand, to one of the lesser veils. A pale one, not the best kept, lacking the red eyes of the kings. He turned his thousand facet gem eyes to the veil—driving deeper and deeper in. The court waited on baited breath.

The veil parted.

The lord and lady crawled like new born kittens. With a flick of the stranger’s wrist, they rose. Smoke rose from their eyes like temple candles as he compeled the lord and lady to dance. Their feet moved to an unheard rhythm, as they embraced and parted, spun and sprang. At last they finished with a bow. The stranger closes his eyes three times and the pair awoke from their bewitchment.

As the embarassed pair smiled and returned to their veil, pulling it a bit tighter. Alas, the stranger mused. For standing outside the veils, he saw the singe marks still on their covers. Only the king’s was guarded against his vision—and even that only for now.

That night he again dreamed as old ones dream, and set about his goal. He came to the great pillar, as unbareable as it’s heat was. And there he closed his eyes—and opened the ones he had left nearby. He opened the eyes of the great song birds. He opened the eyes of the lesser nobles. He opened the eyes of Lawerence.

But Bartholomew’s eyes would not open. The great giant of Lanmoth awoke, the charm he was given cracking at the weight of such a presence. Sword in hand, still in his night gown, he ran and beat on the door to wake the king. As his fist thudded on the door, the squawking of other birds became clear—dozens of them, who had gazed into the eyes of the first fellow, were descending through the halls. Running like ostriches, they joined the nobillity with their torn veils in a mass towards the court hall. This commotion woke Morgan, who joined Bartholomew with his blade.

“My king, something magical is afoot.” Bartholomew said. The two took to follow the crowd, and found them at the great pillar, hands and claws tearing at the chains, hacking with beaks and clubs. Bartholomew rushed to push them aside—but the King stared down more clearly. For he had learned to see the dreams of elder things, even if he could not walk them.

And seeing the shape there, that child of the sea-goat, directing the vast host, the King understood.

In the Chambers.png

With a bellow, now, he runs to the strangers room. He gives no head to the sleep walking fools and birds, instead smashing aside the door. He draws his sword, edged with saphire—and sees that host of brothers guarding his guests. The ala stand, faceless and ready, battering off him as struggles through. Almost—his sword is almost in reach! One more blow, good king! One more blow, king! And then–

There is a crack, and chains collapse. A great sigh, far away, as the golden cloud of Mount Moni descends, and sweeps up all Lanmoth.

The breath of dreams takes the place of the breath of air—and both the stranger and the princess leave for the temple atop Mount Moni.

 


 

This story was…tricky. Honestly, I cut out over a thousand words and am still not entirely happy with how fast it moves or how many characters it has. I think there are too many names for such a short story–while making it a third part would have been intolerable. I think the idea, broadly speaking, isn’t that bad. I tried making my own illustrations, which, ah. Was not a wise idea on this time table.

With that in mind, next week we continue on our road of the occult and mysterious, albeit with a more sympathetic view. See you then!

 

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The Magi and King Morgan Part 1

This Week’s Prompt:82. Power of wizard to influence dreams of others.

The Prior Research:I Dream Of Mages

Part 2:The Magi and King Morgan Pt 2

It is said that nothing lives on Mount Moni. To even a casual observer, this claims is false. Birds land on the mountain, and some grasses grow along it’s base. But the idea of anything more than the most determined creature surviving the raw stone cliffs is unheard of in the lands around Mount Moni. Knowledge of what rests on it’s summit exists only far from the land—and from such a land came Morgan. The cliffs were hard climbing for the young man, a scholar by trade. But months of travel to the mountain had prepared him for the climb up the path. A path that was often covered by mist—sleek and smooth like a river. And the top of the mountain itself was halo’d in a great cloud.

Yet up he had to go.

Mountain Moni From Afar

As he climbed, Morgan felt strange things. He saw shapes in the fog, floating off the path. Glowing shapes, that looked like faceless men with outstretched hands to embrace him. Those who knew the mountain can still point to the patches of strange white dust, where men have lept to their deaths pursuing the misty guardians. Some even saw the strange creatures, a band of thirty, gnawing at the bones to render them to dust.

Morgan, however, was a man of knowledge. He passed ahead with effort, reciting prayers to the shining chariot and to the brilliant spear and the cleaning waters of the river. The mist did not part, but the ghostly images let him bee, soaring ahead and around as they left. They whispered and hissed as they did, but there was little they could do now.

The Temple at Mount Moni.png

Atop the great mountain, through the clouds, Morgan beheld the great crumbling edifice. Pillars rose to support a long collapsed ceiling. Torches still flickered, and the broken paintings of glory were still visible, their faded eyes and hands marking the stones. At the center was a great statue—its top worn down by time and space, it’s lowere body coiled like a serpent. And beneath it, sat the sorcerer.

His hands were bedecked with jewels as the moved up and down the long ivory pipe. A mask rested over his head, his two eyes focused on the colored smoke of his fire. His tune was soft—audible only from here, as he swayed—as if to dance with an unseen cobra.

Morgan approached, and fell on his Knees across from the magician.

I have traveled far and braved many things to speak with you.” Morgan said. The sage continued on his flute, but his eyes raised slowly to meet Morgan’s own.

I have heard the sage enjoys a block of tea, from the lands of Shilab—or so they say in Kahal. So I have brought with me tea to his liking.” Morgan said, removing a block of packed leaves and placing it beside the fire. The magician played a few notes—and a thing with the torso of a man came, lifting the tea and taking it into the darkness. Green steam rose around it, and the music paused as the sage inhaled the smell of sweet green tea.

Wizard on Mount Moni.png

The sorcerer put down his flute and stared expectantly at Morgan.

I have traveled far and braved many things, to ask but one request. It is said that the sage of Mount Moni may weave dreams and passions with better skill then heaven itself—that even the greatest of interpreters may believe his words. The lord of my land has no children—I wish to endear him to me, that I might inherit his lands with his passing. I am a wise man, schooled in many classics and laws, with a good mind and soul. Only the vagaries of fate hold me away. I ask the great sage, if he should right this injustice?” Morgan said plaintively.

The sorcerer made a noise like a droning goat, until his tea was brought to him. Taking a long drink of the green tea, the magician spoke.

To mend dreams and omens and set them in motion is within my power. But I must have an offering to preform this task from your king.” He said slowly, eyes glittering on the lonely mountain top.

Morgan paused for a moment, before reaching into his coat and producing a small, iron ring.

The sages at Kahal warned of such a request. Here is a ring of iron the king wore on his wedding day—the only ring of baser metals. Will it suffice?” he asked. The wizard took it in hand, and examined it under the stars.

Yes, yes this shall suffice. I shall weave his dreams as you request—but you must grant me one request. When you are king, bring to me a child born on the ninth day of the sea goat to a dead mother—fail in this, and I shall see you undone.”

And Morgan promised to bring such a child, at the appointed time. And the magician sent him away, so he could work his wonders. With the flute of ivory, he inhaled the smoke, tossing the ring amongst the flames. He called out names of slumbering gods and spirits, who’s dreams were mighty but malleable. He wove with his flute and mask, and became that dread brother of Death.

What dreams the King had that night! What visions he saw! Chariots of gold that brought Morgan forth, the crown carried in triumph over all the world. Eagles with Morgan’s eyes, scattering the mice of nations. The old wizard of Mount Moni was cunning and quick in the language of dreams. He adorned Morgan’s image with all the signs one could ask for—and with a borrowed voice, he spoke of the great powers that Morgan would bring to bear and lay low.

And so the stargazers and dreamers were gathered, to hear of the King’s dream. And he told them of all he’d seen. The vast conclave consulted and spoke and debated and preformed. At last, they all came to agreement. The gods had spoken. Morgan was fetched, and made heir.

It was three years before Morgan ascended to be king. After his coronation, he sent word for a child born under the sea goat on the ninth day be fetched, and took quiet leave abroad. With his knowledge of the world, he road faster than any could have dreamed—and arrived at the base of Mount Moni, among the pale dunes of doomed carriers.

He brought the child, wrapped in somber cloth—the sages of Kahal had warned that bright colors aroused the fury of the wizard—upward and upward through the parting mist. At the summit he found the wizard, playing his flute. He lay the child at his feet.

We are done then, good wizard. My debt is paid.” he said. The wizard did not speak, but played to his unseen cobra. Morgan considered that the end of their discussion, and left as he came. The child stirred in it’s sleep, strange dreams coming to it from the flute of the wizard at Mount Moni.

The Wizard of Mount Moni saw Morgan again, a decade past—or so he assumed from the dreams he had seen, and the child’s growth. Morgan came by way that a fellow magician might—a chariot, hewn of unearthly metals, roiling through the clouds. Such an entrance was normal enough to raise the magician’s ire—but he saw on Morgan’s hand the symbol of clemency, and the wound that was on his chest, between layered talismans of no small worth.

So the boy had been a fine king.

Oh Magician of Mount Moni, I have traveled far to speak with you again. I have heard from the sages of Kahal that the magician enjoys for such dreadful events tea from the golden flowers of sunset.” Morgan said, breath wavering. He held out a block of tea, orange and yellow like the sunset. The Wizard stopped his flute and whistled. The boy rose from slumber and took the tea, heading off to warm it in the Wizard’s cup.

Oh Magician of Mount Moni, I ask a favor of you again. My lands prosper, my people delight. But neighbors have marshaled against me. A sorceress leads them, and she and her students have masked their movements. She knows some great skill, and has woven arrows that escape my defenses. My crown will be subsumed. I need again aid. Can you raise some vision to my defense and victory?”

The wizard was silent until he drank the golden tea, that smelled as sweat as honey. His voice was softer then before, flowing out like a warm steam.

Matters of war are small things, if heavy in their cost. I can secure your home from invasion with effort—surely they have some sorcerer, but there are none who hold the breath of dreams in them save me. But in exchange, of course, I wish for a heavy if small thing. Bring me work men to raise my temple a new—to restore it’s splendor as I direct.”

Morgan agreed without hesitation or consideration.

After he left, the wizard called his many children, the Alu of the fog. Some leg less, some armless, some headless, all gray and viscous. His living son, who was brought by Morgan years past, had prepared a great draught from the cloud around the Mountain. Each took and drank the breath of dreams—and each flew then out at the Wizards flute. They sang the whole way, of their seven elder uncles who lay cities low and feast on the blood of men. They sang of their mothers, who drank the souls of men. And then they came upon the host.

Alu.png

How terrible things to be afflicted by, who press themsleves close to the chest. Who’s hands hold eyes shut—pressed down and closed with dread. Who breath in all the air in their victims lungs—and without mouth, replace it with dreaming air. The draught is painful—cold, vaporous, sticky like honey but sharp as ice. Mortal life cannot be sustained on such things.

They all died in their sleep.

So Morgan crowned himself with Jove and Alexanders great laurels. And the workmen came on his spell born ship, to raise from raw stone the old temple of Mount Moni. Lustrous it was, still wreathed in clouds. The magician’s palace was painted garish colors, and the statues that loomed over it’s arcs were clownish grotesques. But finished all the same it was, and the magician slipped in the night to steal back the dreams the workers had of those oddly familiar statues.

Decades thudded past. The wheel of time brought Morgan once more to his zenith. But in his silver mirrors, his lines began to grow. His hair had lost it’s sheen—though his interweaving oils preserved it. Death’s great and terrible hound, Time, was gnawing at him. And while in other ages, solutions and safeguards to such perils were known, they were abandoned by the time Morgan rose. So he set about that second method of immortality—marriage.

He consulted many signs and stars for this affair. He brought many apprentices to help him in his laboratory—scanning for symbols, working tablets and tables. In time, he had found a woman far off, whom he knew would be a perfect wife. Her name was Lenore—she bore raven hair and eyes like emeralds, from the distant West where the Serpent Queen ruled still. Her father was a king like Morgan, although whether he knew the arts of a wise man Morgan did not know. He sent envoys, both spirits of the wind and men in flesh and blood. They reported she was good company, learned and prudent. Morgan was delighted. Only one problem remained.

AlgolSymbol.png

The star Algol, that treacherous red eye that swallows nations whole, loomed over the best wedding night. Such an ill omen would ward off any astrologer or match maker. Moragn drummed his fingers, thinking of ways to forge or hide the omen. A storm could obscure the heavens, but the movement of the stars was known to learned men. He might call up some spirits and compel falsehood from the voices of astrologers, but that would not last—such things were not sublte to a king, who was often surrounded by exorcists.

No, there was one way he could circumvent the problem, though he was loath to do so. He gathered his belongings, and mounted his chariot—telling no one where he was going, he set forth in the heavens to Mount Moni.

The clouds, full of the grey spirits, parted as he approached. A decade had passed since he had last arrived. The statues and temples were full of buzzing sounds—hidden cicadas no doubt, lurking behind the many strange shapes.

The Wizard was no longer sitting before the fire. He was pacing with a young man, describe the various murals on the walls. This was, Morgan knew, how a teacher instructed in the arts of magic. Of course, they spoke in a language lost on him. His arrival, from the great front entrance, ceased the lesson for the time, as the magician turned to him.

Ah, my old friend returns again. What miracle needs working this time, that you disturb Mount Moni with your steps?” the magician said, his flute in hand.

Morgan explained at length the latest difficulty. How he had considered other options, before speaking to the wise sorcerer, how he had plumbed his resources. The wizard listened carefully, and occasionally spoke a whispered word or two the the boy born under the sea goat. At last, he replied.

A work that you are asking, so perfect to fool every oracular device against an ill omen as great as Algol, is within my power.” The wizard said—holding his hand up to stall Morgan’s delight. “However, I shall have my price. Your first child will be a daughter—surely you know this already. My own son, he lacks a bride and will have little time to find one with his studies. Your daughter marries my boy, and all will be well.”

And Morgan paused for a moment. He had, as the magician knew, considered his own fortune. He agreed, slowly, to the wizard’s terms.

So it came to pass that Morgan married learned Lenore—the dreams with gods in their splendor, who promised and explained the true mean of the Red Star. For Algol, they said, was spying on his foe men, who would be born of this union. The great cannibal of war would be undone by their daughter, the readers of stars and lineages were told. The casters of bones were given new phrases from old ghosts—ghosts they knew by title if not by name. So the wedding was arranged.

Now, Morgan lived happily. And he was happier still when his first daughter was born—in her he saw so much promise. He considered then, with regret, that she would leave for a far away place when she came of age. He kept this private from her and from her mother—for he knew her mother would despise him for decieveing the oracles, and his daughter would not understand he feared. Instead, he worked slowly.

Like a spider, Morgan wove webs of talismans through out the city. Few noticed the small markers of jade and shells, hanging from windows and walls. The markings, the carefully carved guardian dieties and beasts of the field, the running cords—most was hidden or lost. And when one had a sorcerer king, one grew used to such strange things.

So it came that, when the day Morgan had agreed upon arrived, there was a great trap waiting for the dream wizard. The sorcerer of Mount Moni, finding his son’s promised bride had not arrived, gazed down on Lanmoth. Morgan had worked his magic well, as it seemed impossible that his children would approach without some protection. So the wizard devised a more cunning plan, and called his son to his side.



Next time we’ll see the end of this tale. It got ahead of me more than I expected, and at 2700~ words, is far too long as it is. I could have edited it down, entirely removing the dialouge and just leaving the exchanges between Morgan and the wizard, but I felt those sections gave a sense of the world the characters live in and of Morgan’s own intentions and character. Next week we will have the research—and the prompt for next time, dealing with dreams, nightmares, and broken promises, will be part of the 2nd half of this story! What do you think the wizard has planned to entire the warded land of Lanmoth?

Find out here! The Magi and King Morgan Pt 2

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I Dream Of Mages

This Week’s Prompt:82. Power of wizard to influence dreams of others.

The Resulting Story: The Magi and King Morgan Part 1

Dreams and magic are large and recurring themes in a number of these prompts. And so today we’ll take some time to not only discuss the folklore of dreams and magicians—of which there is plenty—but some of their fascination, particularly in the time of Lovecraft, and some occult theories (however medieval). Needless to say, the man who commands dreams is to be feared in deed.

Recent works of fiction have put strains to separate the wizard from his various compatriots—the witch, the sorcerer, the warlock, the shaman, the priest, the magi. At its root, the word wizard does derive from the word “wise” and refers to the learned man or the sage. However, as we have documented, this does not mean a man who is benevolent nor does it mean one who does not make pacts with dark powers, nor one who does deal in holy powers. While witchcraft in an anthropological sense is associated with unintended malicious power, wizadry and sorcery tend to be more prepared. In a folklore sense, however, we would do well to remember that the line between the cunning folk and the wisemen is not always clear. So, what can wizards do?

In Scotland, we have many records of the powers that a witch or wizard might exert over the world. Powers over wind and weather, storms called up and sent back down are reported among court documents. In both Scotland and Nova Scotia, this power extends to strange orbs of fire in the night—often that burden the body and the mind. The same text reports tales of darkness conjured by sages of India in Marco Polo’s narratives. Scottish sorcerers also exerted the ability to render things sterile or fertile.

Scottish and other English wizards were also ascribed the power of commanding animals and humans alike, as we have discussed when talking of the devil’s deals. These powers could result in death or worse, trapping people until the starved. Particularly skilled practitioners as late as the 1800s (and to this day in some places) have the power to bewitch serpents and endure their bite without harm.

Frog River.png

Nova Scotia folklore reports a way of gaining power over a person with a ritual. One must find a frog, tie his legs to avoid him hopping, and put him atop an ants nest. In time, the ants will devour him, and the frog will begin hollering and yelling. You must not hear him holler—that will kill you. After nothing but ones are left, take the hopping bone—his hind leg. Place it on your target’s body for a few seconds, and they will be yours. This same rite yields different variations, sometimes using serpents for the purpose or using two bones. The first bone ensnares the second bone sends the person away.

Fiji and other places have reports of magic that follow a broad theme of requiring a portion of the victim to be of any use. This rule can be illustrated in a dispute between two men, Fillipi and Nayau. The two men, after arguing over who was the superior magician, exchanged food. The sorcerers set about certain secret workings on these objects, and then place them in the roof of their victim. These workings include fasting, eternal heat for four days, and aversion to the sea. Fillipi ends up dead—however, Nayau fails to find his body and release the evil Fillipi had built up. The Nayau man thus also falls dead, his spear stabbed into the incorrect grave on the last night. Proper treatment of the dead having unexpected consequences might be the topic of this weeks patreon or another time—needless to say cosmic events have sometimes emerged from reckless ignorance of cosmic forces.

Tibetan magic intending to harm someone is equally attested to. Placing hair or nail clippings under the altar of a wrathful deity, for instance, draws the destructive power towards the target. Cursing and invocation of these powers is alos a means of harm. More elaborate, however, is the ngan gdad. This ritual requires nail or hair clippings, placed in a circle. The cirlce is marked by four curses—each reaffirming that something must come to an end (the life, the descent, the heart, the body, the power)–which is smeared with menstral blood along with the clippings. The entire ritual is placed on a prepared paper with an image of the person, and wrapped in a package. The package in turn is placed in a yak’s right horn, with additional harmful items—the blood of a man, a woman, and a dog; brass and iron filings from a smith; earth from a cross road; and an object used in a suicide; a portion of a woman who died in birth; some acontine; and water from an underground spring. This concoction is topped off with two live spiders, who are sealed inside with the hair of a corpse. This is sealed with poisonous wood.

Horn Tibet.png

The entire process is poisonous, so the sorcerer must avoid his own contact. After this, a ritual involving the bones of the poor, the butchered of war, and earth of a haunted mountain is preformed. The wrathful gods are invoked, and the magician will attempt to hide the horn in the victims house during dawn or sunset. Within three months, the first signs of misfortune appear. Eventually, the entire family of the house dies.

While this is the most elaborate Tibetan ritual, it is not the only means recorded for tibetan sorcerers to work harmful magic. A number of lesser rites are codified that invovle drawing a mandala of a specific color and working with a statue or image of a person. Others involve the writing out of names and descent to invoke illness and malady, and elaborate rituals like the above to call upon four armed killers. For sake of space, we will abridge those specific rituals.

 Interpretations of dreams in Tibet, as elsewhere, is seen is a way of understanding the future. Among most persons, dreams of being clad in armor, riding a miraculous steed, or being in formal dress are all good signs of progress and prosperity. However, dreams of storms, swamps, and filth are ill omens. Different spirits can also influence dreams—a theme we will follow through out our work, as the wizard often works through spirits and other such things. “One can also determine which class of spirits caused the hallucinations one experienced in a dream: if one saw a snowy mountain or a soaring white bird, then the lha caused this dream. When seeing an old temple, images of clay, a fox, or a small child, the dream was caused by the ‘gong po demons. To see snakes, frogs, girls with a·pale-blue skin, and mountain-meadows are mirages caused by the klu. The btsan make one see rocks, trees, riders, and warriors, the the’u rang let appear ash-coloured children in one’s dreams; if one sees the figures of Buddhist priests, of asses, monkeys, rats, horses, and dogs, these dreams were the work of the rgyal po demons, and if one trembles with terror and fear in the sleep, this is due to the influence of the bdud.”

Cornelius Agrippa.png

Dream interpretation is also marked by Cornelius Agrippa, a famed occult writer in the middle ages. Agrippa attests to beliefs that dreams are celestial influences—drawing the common distinction between fantasy and true dream. While dreams are according to Agrippa effacious, he regrards them as unreliable. Or, rather, omens that cannot be universally understood with one meaning. Nonetheless he argues for a focus on the potential and influence of dreams on this world, and if understood accurately is the most effective means of seeing the future.

Dreams as divine messengers are of course common. We have Daniel, a wise man who’s position is derived from his ability to understand dreams (and who, perhaps like a sorcerer, has no fear of animals). We have the Odyssey’s dream messages from Athena. We also have, notably, the use of dreams by Juno in the Aeneid. Here, dreams are the tools of wrath and are used to misled the Etruscans into a doomed war against Aeneas.

The use of dreams to see faraway places is promient in later works. We can consider, for instance, the story of visiting the Antartic that is found in . Here the narrator bears witness to a great battle among old gods—Zeus and Odin set about a war path, as their lands are being pushed ever farther back. A tale by the same author in  In The Pale of a similar man, who went to the Antarctic and found the lost tribes of Israel and the descendants of Moses living there as if in a new Eden.

The wizards power over dreams, however, takes the most direct appearance with the Night hag and other commanded spirits. We discussed the Night Hag at length here, but there is of course more to say then that. We can consider the creatures a Sumerian exorcist encountered, which included the invisible demon Alu. The alu dwell in ruins, and wait to rush upon people at night, enveloping them in their garments or sneaking into bed rooms to steal men’s sleep. They appear as half-man half-demon creatures, sometimes faceless, earless, or even limbless. The baku of Japan is another strange dream spirit—it frequently is called upon to eat dreams, and has a generally benevolent image. That said, a hungry baku may devour good dreams as well—destroying hopes in the process. The Baku has gained a more benevolent reputation as of late, however, as it eats nightmares of children. Also, it looks more snuggly then a demon lurking on your bed.

Baku.png

Western powers over dreams are also ascribed. The Book of the Magus suggests a method by which a wizard may compel or bring forth true dreams. It relies on the construction of a ring dedicated to celestial powers, prepared at a key moment in time. The subject of the dream is to be tied to the power and moment—as is normal for the creation of such talismans in Western occultism. The practioner must also fast and obstain from many worldly pleasures in order to avoid ruining his project.

The Magus reports an incident where dreams give the impression of soaring and flying, in a way comparable to our earlier examples from weird fiction:

“At LINTZ I worked with a young woman, who one evening invited me to go with her, assuring me that without any risk she would conduct me to a place where I greatly desired to find myself. I allowed myself to be persuaded by her promises. She then gave unto me an unguent, with which I rubbed the principal pulses of my feet and hands; the which she did also; and at first it appeared to me that I was flying in the air in the place which I wished, and which I had in no way mentioned to her.

Pass over in silence and out of respect, that which I saw, which was admirable, and appearing to myself to have remained there a long while, I felt as if I were just awakening from a profound sleep, and I had great pain in my head and deep melancholy. I turned round and saw that she was seated at my side. She began to recount to me what she had seen, but that which I had seen was entirely different. I was, however, much astonished, because it appeared to me as if I had been really and corporeally in the place, and there in reality to have seen that which had happened. However, I asked her one day to go alone to that same place, and to bring me back news of a friend whom I knew for certain was distant 200 leagues. She promised to do so in the space of an hour. She rubbed herself with the same unguent, and I was very expectant to see her fly away; but she fell to the ground and remained there about three hours as if she were dead, so that I began to think that she really was dead. At last she began to stir like a person who is waking, then she rose to an upright position, and with much pleasure began to give me the account of her expedition, saying that she had been in the place where my friend was, and all that he was doing; the which was entirely contrary to his profession. Whence I concluded that what she had just told me was a simple dream, and that this unguent was a causer of a phantastic sleep; whereon she confessed to me that this unguent had been given to her by the Devil.”

In Mongolia the framing device of the Saga of the Wise Walking Khan involves the son of a khan enraging a group of magicians. These seven magician brothers are first approached by the two brothers, to learn the art of magic. They teach the elder brother false lessons, while the younger brother at night listens at night to learn the true lessons. Afterwards, the younger brother comes up with a scheme. He tells his elder brother that there will be a new horse in the stables asks his brother to take it to be sold—but not to walk past the seven magic brothers. The elder brother does not believe there is anything to fear from the magicians—after all, they didn’t teach any magic so they had no power. The Seven Brothers recognize the magical horse and worried their monopoly will be broken, descend with intent to kill the horse, after buying it.

The horse, it happens, is the younger brother in disguise. His intent was to turn into a horse, be sold, turn back, and flee.

After a shapeshifting chase, the younger brother finds his way to a great sage. He asks the sage to turn him into a bead and hold him in his mouth—and to turn seven beads into worms, as the magicians approach the door as mere men. The magicians see the worms, and thinking one is the younger brother, they turn into birds to devour them. The great sage drops the bead, and the younger brother emerges. He takes a great stick and kills them all. His saga then follows his tasks to repay the great sage.

The Greeks marked this division of dreams between fantasies and reality with the twin gates in the realm of Hades. There, dreams of falsehood flow from the gate of ivory, and dreams of truth from the gate of horn. Dreams are also there tied into the lands of the dead. The power of the dead to talk in dreams is attested to, almost as thoroughly as the power of the cunning wizard to speak with and command the spirits of the dead. But that will have to wait for another time.

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Around the time of this prompt, it was not only the occult world that had interest in the world of dreams. Rather, the scientific community—or the begins of one—showed interest. We can consider the work of Sigimund Freud, who suggested dreams showed supressed and buried desires and ills. Carl Jung, one of his disciples, expanded this notion of the power of dreams to communicate from the great unknown of the unconcious mind. Jung extrapolated the source of these dreams into a vast universal unconcious, where the whole of mankind might be said to be dreaming.

The notion of dreams that are more substantive then reality, and the potential for sages to influence them, calls to mind an old Taoist story. Once Chuang Tzu said that he was dreaming he was a butterfly—and only knew his happiness as a butterfly. The sage wondered, was he a butterfly still dreaming he was a man or a man dreaming he was a butterfly? The sage leaves the question unanswered.

In dreams a man can live a thousand lives, wear a thousand different faces. The power of dreams then is two fold—to make a life like illusion, and to send messages of great importance. It isn’t hard to see how a wizard with command over dreams might manipulate a community—even barely remembered, dreams of the same thing over and over are effective. If we grant our sorcerer can observer the sleeping persons, then we have new elements to introduce. A sorcerer might use these gazes to test his victims, as a sort of fantastic simulation. As we have seen here, the danger of a wizard is great especially if personally invoked. We had a wizard hero last story, so I think this time we will have one in a villainous role.

I am also feeling a bit more fantastic. That is, away from set in stone locations ot an unknown place. Given the Sumerian story, I think the lair of this wizard is the crumbling ruins of some old temple or palace—and perhaps there is where whatever ritual or tools he uses are found. What sorts of magic might he work? What plans does this wizard have? There is horror to be found in a man who from afar exerts power over the elements, the invisible killer. The dread master with his assistant spirits.

 

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Bibliography

Nebesky-Wojkowitz, Rene. Oracles and Demons of Tibet. Kathmandu, Nepal, Book Faith India, 1993.

Dalyell, John Graham. The Darker Superstitions of Scotland.Glasgow, R.Grifin.co, 1875.

Busk, Rachael Harriet. Saga of the Far East; or Kalmouk and Mongolian traditional tales. London, Griffith and Farran, 1973.

Fauset, Arthur. Folklore of Nova Scotia. New York, American Folk-lore society, G.E. Strechet and Co. 1931.

St. Johnson, Reginald. The Lau Islands(Fiji) and their fairy tales. London. The Times book co. ltd 1918.

Iliowizi, Henry. In The Pale: stories and legends of Russian Jews. Philidelphia. Coates. 1900.

Iliowizi, Henry. The Weird Orient: Nine Mystic Tales. Philidelphia. Coates. 1900.

Thompson, R. Campbell. The Devils and Evil Spirits of Babylonia. London. Luzac and co. 1903-1904.

Marble Heads and Marblehead

This Week’s Prompt: 81. Marblehead—dream—burying hill—evening—unreality.

The Resulting Story: What Mr. Diamond Met on the Shore

Here we begin another study of contrasts—the art of statuary, stable and enduring, mixed with the emergence of dreams, malleable and fleeting. The two have come together more than once—when we discuss the folklore of statues, and my own thoughts on their horror potential, we’ll find that the muse of mountains loves coming in dreams. Before delving too far into that, however, we should at least mention that there is a Lovecraft story dealing with similar notions: Polaris, Dream Quest for Unknown Kadath, and Beyond the Wall of Sleep all deal with dreams, and didn’t quite work naturally into the rest of our discussion.

That said, the art of capturing human likeness in stone is as old as—well, as possible. The specification of marble for the statue does call to mind classical works. Ancient Greek and Roman statues which in Lovecraft’s day were believed to be pure and milky marble. We of course now know better—it is highly likely that the statues were painted, often in bright colors. But those ancient cultures do give us a few starting points before moving onward.

First is Galatea. Galatea was a statue carved by the sculptor king Pygmalion. Pygmalion had no interest with mortal women—and in fact thus opts to stay single and focus his talents on sculpture. However, his sculpted woman arouses in Pygmalion desire and adoration. Such is his lust that he embraces the inert statue, kissing and caressing it. He even dresses her, and lays her on a pillow to rest.

Galtea.png

When Aphrodite’s festival comes around, Pygmalion prays that the his wife be made flesh and blood—that she in her beauty can return his affections. Aphrodite grants the prayer, and that night their embrace results in the child Paphos—who in time founds a city that is named the same.

Then there are the Statues of Daedalus. Daedalus rendered some statutes capable of moving if not tied down. These statues are only obliquely referenced—Socrates’s discussion with Meno on knowledge introduces them.

And lastly a story calling upon Greek images, if not Greek itself: the Disinterment of Venus. This story tells of some hapless monks who unearth…a statue of Venus from nearby. The statue seems to move when not viewed and ‘magically’ fills the nearby monks with impure thoughts. The result of this story is rather grisly, and I’ll allow you to discover it on your own.

venus1.png

Of course, the ancient Greeks are far from the only ones to suggest worked materials can channel higher powers. Moving a bit farther down the timeline of Europe, we find the Catholic and Orthodox icons. These images and icons often have fantastic properties—reports of the icon moving, bleeding, or giving breast milk are common. In at least one case, beholding the icon without permit resulted in a man’s death, and the mere presence of an icon could exorcise demons from those who came into the church.

Better still, these icons often were connected to dream messages and inspirations—sometimes in dreams the location of icons would be revealed, while in others instructions on their construction would be given. The icons dreams could also give visions and prompt, in many stories, conversions from these encounters.

Icons

On the left, Luke painting the image of the Theotokos. On the Right, the Theotokos of Vladimir.

An icon is in many ways the embodied form of the saint—it allows the saint’s grace to be refracted and reflected out onto the world. The creation of duplicates of a miraculous icon—either by print or photography—often carried with it the power of the icon as well. And these icons often played rather significant roles outside politics—reports suggest had that the Czar brought icons of known potency to the front in the first world war, it would have gone differently.

The icons were not without rivals, however—we can consider the work of theurgy, where in magicians claimed to bind demons and spirits into statues in order to compel them to move and speak. This practice sometimes included ghosts as well, who were thus imprisoned with iron chains and prevented from harassing the community. Both practices were, of course, condemned by the Church.

Artemis of Ephessus.png

We can also come back to Greece and even to

The idea of binding the supernatural with a statue may seem strange, but it’s practice is documented by the Maya in the Yucatan peninsula after the arrival of Catholicism. Here saints are, like in Europe, sometimes found in the wilderness. However, unlike in Spain where said icons are left alone, the statues in the Yucatan are forcefully returned and restrained to their new homes. For instance, there is a story of when the first Chimaltecos found Santiago in the mountains, in a place where even today no one lives because it has no water. After building the church that still stands at the center of town, these ancestral Chimaltecos fetched Santiago to his new home. The next morn- ing he was gone. Searchers eventually found him back where they had first encountered him and once more returned him to the church. Again he fled to his old place but this time, when they tried to carry him back to town, Santiago made himself so heavy that no one could lift him. Exasperated, the ancestors beat him with whips to get him into the church, leaving gouges on his back that can still be seen today. Beyond that accounts often end with villagers punishing the saint to make it “behave” properly. In Zinacantan, town elders pour hot water over San Lorenzo to silence him because they dislike “talking saints” in Amatenango, they throw their evil image of San Pedro out of the church and then behead him for his witchcraft.

Caanite Teraphim

These teraphim are Canaanite, not Jewish, but give a good impression.

Pre-Christian references to statues as divinities are not limited of course to Greece. We have the teraphim of the Old Testament. These statues are small, and often translated as household gods. They appear to contain some power and blessing. They might be comparable to the Lares of the Trojans in the Aenied or to the brazen head constructs of later occultists (which we discuss in our Patreon research here). These served as protectors of household power, and continuations of a house—for there to be a new Troy (as Aeneas founds), they must have the Trojan gods. They further speak in Aeneas’s dreams, in Book 3 of the Aenied, telling Aeneas to seek out the lands that have been prepared for him and not to dally in the Greek shores much longer.

All this talk of saints, and I nearly forgot to mention a peculiar story I found while doing research for this topic: the Porcelain god. The story resembles Galatea in some ways—it is about a superb artist striving to make a living thing out of inert material. However, unlike Galatea—who is granted life by the act of a goddess—the porcelain here is given life by mortal hands. Specifically, after years laboring away at making the life like porcelain, the poor man asks the god of the forge how he might succeed. The forge chastises him for thinking that with mere bellows he might make a soul, and the man realizes he can impart life to his creation—by sacrificing himself. Leaping into the fires, he infuses the porcelain with the potency of life, and is enshrined by the Emperor as a god of porcelain.

The danger of statues is also well recorded. The instance of the Disinterment of Venus is but one example. A tale from India tells us of a Brahmin and his elaborate collection of idols—and his disgruntlement with determining the best of the idols. He asks a local smith for advice, and the smith suggests seeing which idol with stands the blows of a club best. After testing the idols this way, the Brahmin finds only one idol able to stand the blow. He worships the idol faithful, doing nothing else but meditating on the idol, offering it food, and tending to it. That the idol appears to eat—the food left in front of it vanishes, after all—is seen by the Brahmin as proof of his divinity.

One day, the Brahmin opens his eyes however—and sees that in fact a rat had been stealing the food. This causes him to despair and perhaps go a bit mad, as he concludes that the rat is the true master of the universe for being able to trick him. His reverence for the Rat continues, until a cat eats the rat. He then reveres the cat, until his wife grows worried about their livelihood and—in spite of her fear of her husband—removes the cat. The Brahmin concludes from this his wife to be the most powerful force in the world, and seats her as his object of worship. Being an object of worship, however, is not compatible with being a living person. His wifes adjustments infuriate the focusing Brahmin, who strikes her and renders her unconscious. As before, he concludes him self to be the thing worth revering and achieves release.

I find that particular story…strange. But these dangers of images aren’t uncommon. Fear that images would achieve worship instead of true divinity is a regular fear in Europe, where iconclastic waves often destroy images and statuary in a fervor. We can consider a comparable story of Abraham, who as a youth in folklore lived with his father an idol maker. One day, Abraham smashed all the idols, and placed the stick in the hand of the largest. When his father returned home, he escaped blame by pointing to the largest statue.

To tie more directly to dreams, we can consider the writings of Pausanias who claims to have seen a pair of statues—one to Hypnos one to Oenieros—luring a lion to sleep:

From here is a way to a sanctuary of Asclepius. On passing into the enclosure you see on the left a building with two rooms. In the outer room lies a figure of Sleep, of which nothing remains now except the head. The inner room is given over to the Carnean Apollo; into it none may enter except the priests. In the portico lies a huge bone of a sea-monster, and after it an image of the Dream-god and Sleep, surnamed Epidotes Bountiful, lulling to sleep a lion. Within the sanctuary on either side of the entrance is an image, on the one hand Pan seated, on the other Artemis standing.”

Dream interpretation is a common trait among holy men as well. We can consider the obvious dream interpreter, Daniel of the Old Testament. His interpretations served as excellent prophecy for those who spoke with him. We can also remember Joseph, who understood dreams as holding the future and thus advised the Pharoah for a time. In Heferodshire, there is a story of St. Dubricius, who settled his monastery after an angel of the Lord instructed him to do so—with a herd of swine taken as well. The place was hence known as Hogplace or Mochros.

Hypnos.png

These two are the old Greek gods of slumber, and in some cases survive later as saints. Hypnos further endures in Lovecrafts work—in particular, one of the stories I believe came from this prompt. The story bares Hypnos’s own name. The story also follows a marble sculptor, who with his lone friend, begin to explore places beyond human conception and experience. They go further and further, until the narrator reaches a barrier that he cannot cross. But his friend can and…well, what happens next is best read on your own.

Lovecraft’s notion of sculpture and dreams are of course common. We can consider also, in the vein of marble, the Tree. This story follows two sculptors making an image of fate in competition. The result of this competition for the prize of a Syracuse tyrant is eventually a marble crypt and great tree that is extremely human like in appearance. I’ll allow you to enjoy that particular tale. And we cannot forget that a statue and a dream are at the center of the Call of Cthulhu—the statue of Cthulhu being the center of his cult. The power of images is to in a way be life like, and inspiring. It gives a being prescence in the world, spatial reality that a mere painting might not.

MarbleHead.png

So the above article is still important for my writing—it is where I went with research and I stand by it. However, as I was editing, I learned that Marblehead is actually a town in Massachusetts—not as I thougt, a head of marble. The coastal town served, as many New England towns have over the years, as inspiration for Mr. Lovecrafts own writing. In particular, the town of Kingsport was retroactively based on Marblehead in years past. Kingsport is of course the site of many dream stories for Lovecraft. Randolph Carter has encounters there, as does the terrible old man, and in the Dream Quest for Unknown Kadath, Nyrlanhotep himself expresses admiration for the town. So what tales from Marblehead?

Among the most famous you will find is that of the Screeching Woman. A heavy Spanish galleon was overtaken by pirates. Each member of the crew was butchered—except an English noblewoman, who was brutally murdered on the coast. The fishermen being away, and the women and children of the town being terrified, no one answered her screams for help. Her body was buried on the spot, and on the anniversary of her death, her screams still come out of the spot.

The prompt more directly seems to refer to a man named Old Dimond. Old Dimond was a man of prestigious power in the black arts. These included divination and power over fortune—he was known to go to the burying hill and beat about the graves, making demands for the fates of his own vessels. He was also known as a good friend to have—a widow asked for the location of a lost bit of wood, and he charmed the thief into returning it. In another instance, he was able to locate stolen treasure for an elderly couple. Old Dimond it seems was not only a wizard but a defender of the ill fated.

Old Dimond I think gives a direct line to the story. We are dealing with manipulations of dreams, and of fates there for. The reference to a burying hill point to that sort of necromancy connection. We then have the story of a wizard, of dreams, and of a certain unreality or magical uncertainty. From Old Dimond’s tales, it might be fitting to do a thief story—akin to the Terrible Old Man. Alternatively, we could present a somewhat more nefarious dream of a statue still—as I discuss in the patreon research, the ability to gain insight into the future and the cosmos is often connected with mystical statues and machines. Certainly, necromancers have had uses for strange and enchanting statues before. And I do confess, I would like to employ my earlier work into this even as they…misaligned with Lovecraft’s intent.

What stories will you weave about the coastal town of Marblehead? What statues inspire you in the real world? What strange dreams have you had?

Bibliography

Freedberg, David. The Power of Images: Studies in the History and Theory of Response. University of Chicago Press, 2007.

Hearn, Lafcadio. Some Chinese Ghosts. Project Gutenberg, 2015.

Leather, Ella Mary, et al. The Folk-Lore of Herefordshire: Collected from Oral and Printed Sources. Logaston Press, 1912.

Mukharij, Ram Sayta. Indian Folklore. Sanyal and Company, 1904.

Roads, Samuel. History and Traditions of Marblehead. Osgood and Company, 1880.

Watanabe, John M. “From Saints to Shibboleths: Image, Structure, and Identity in Maya Religious Syncretism.” American Ethnologist, vol. 17, no. 1, 1990, pp. 131–150. JSTOR, http://www.jstor.org/stable/645256.

“JewishEncyclopedia.com.” JewishEncyclopedia.com, http://www.jewishencyclopedia.com/articles/14331-teraphim.


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A Blind Idiot of A God

This Week’s Prompt:49. AZATHOTH—hideous name.

The Story: Father And Son

Azathoth is a creature of some surprising clear description in the works of the Lovecraftian Mythos. Azathoth, epithets ranging from the Demon Sultan to the Nuclear Chaos to the Blind Idiot God, is the close thing the mythos has to a creator deity. From Azathoth spews forth all things madly and randomly, creation occurring out of his court on a whim. Azathoth is credited as having long gone mad, being now only entertained by his court of outer gods and their music and piping. Azathoth’s origins are perhaps as manifold.

The name holds many hints. One theory is that Azathoth derives his name from Azazel. Azazel is a desert demon or fallen angel who accepts the scapegoat for the sins of Israel, an angel thus involved to a degree in the purging of sin. Azazel is also credited, however, in Enochian texts as the creator of the weapons of humanity (in traditional mythic fashion, he gives men weapons and women make up). He was also there the father of some of the Nephilim, man-eating gigantic heroes that were destroyed in the flood.

Another theory suggests, particularly from the name Demon Sultan, that Azathoth derives from the story of Vathek. Vathek is an old Gothic story, that is distinguished in the setting and cosmology from other horror tales of the genre. Vathek is set in the court of a Caliph, and the predominant religion in imagery is Islam instead of Christianity. We named ‘Valley of Vathek” after the main character, and a full version of it can be found here. The connection between Vathek and Azathoth the Demon Sultan seems based primarily on it’s ending of profound suffering in the courts of hell rather than the expected elation. The punishment of the damned is a sort of blinding truth and madness.

Azazthoth, broadly speaking in the Mythos itself, is to a degree the supreme creator deity, credited with giving rise distantly through more famous children such as Yog Sothoth and Nyrlanhotep. More pressingly, his authority is somewhat supreme. His name alone cows multitudes of monstrous creatures

Demiurge

Demiurge

Azathoth bears a resemblance to the characterizations of a few more creators worth mentioning. Chaos/Kaos as creator of course resembles Azathoth, as an apparently unintelligent creator force. Hudun resembles him as well, with no perceivable senses. Instead Hudun simply exists, and is in fact slain by receiving senses in certain Taoist texts. The Gnostic Demiurge, a creator of reality who is blind to it’s true nature and has woven a nightmare realm from his own selfishness, has a passing resemblance as well, if only as a hostile creative power that seeks to trap mankind.

Azazthoth has one significantly literary reference that must be recalled however.

Azathoth’s name and title however, belie more horrifying insinuation. His name recalls an alchemcial term: Azoth, the primary substance of Creation in many branches of Western Occultism and alchemy. Described sometimes as the source of Solar fire and Lunar water. Azoth then is similar to primary material or chaos. But unlike those, Azoth persists at the core of everything. The thing that gives things their existence.

Azoth

A depiction of Azoth

This presence is echoed by the title Nuclear Chaos. Now, in the post Hiroshima world, Nuclear has a very clear meaning as associated with radiation. And certainly, as horror iconography goes, radiation and nuclear weapons might be reflective of the destruction and perverting influence of the gods of Lovecraftian lore. But the Nucleus here meant something entirely different. It meant the core of something, it’s center and by extension it’s very being. The nuclear chaos alludes to Azathoth’s all pervasive nature that makes him more than a distant disorder. The madness that is Azathoth, the thing that is at the bottom and center of everything, giving existence to all things, is insane. Utterly idiotic and insane.

AtomicBomb

This is almost a horrible punchline to a nihilist joke, isn’t? It reads almost like something from Hitchhiker’s Guide to the Galaxy, or Goats. It’s a silly supposition, comically from the right angle. But we must labor to make this farce something almost horrifying. Restore some majesty it has lost.

So how to make this horrifying? Well, we might first abandon the primacy of the creature. Being trapped or happened upon by an absolutely mad and all powerful entity is itself rather terrifying, if full of humorous potential. The strange and disturbing effects that something omnipotent and foolish could do are rife with potential.

Or we could focus on the change wrought on such a being. How did Azathoth come to be in this state? What was it like, when the essence of the cosmos changed from what it was before? That has potential, but might be too abstract, and frankly too small in effect.

We could return to the notion of Azathoth as an inspiring source. Something that hasn’t been touched on that Lovecraft was fond of was the creation of arts in the wake of terrible beings. We discussed this somewhat, back in our discussion of wicked muses. The Demon Sultan has played that role in the past, particularly regarding The Music of Erich Zann. This might put further emphasis on the name’s hideous in someway, regarding perhaps its latent power inscribed into a poem or even a play (something like the King in Yellow perhaps?).

Yellow Sign.png

Azathoth as an infectious thing in reality, spreading and warping like a maddening rot, might be an approach to consider somewhat seriously. The story would need to begin with establishing the nature of reality as it is, and then gradually introduce the corrupting changes. Ideally, only our character notices these changes. Perhaps they are only changes in his perception, perhaps they are real. The changes will be such that whatever goals the lead was pursuing become increasingly impossible. Slowly, the world seems to drift away from his understandings and notions. Until, at last, he is isolated to a degree in an alien landscape.

Hegel

Hegel. Looks Kinda Like A Deep One

In this manner we might examine Azathoth as an anti-Hegelian conception of the universe. Hegel’s theory of history purports that the world spirit, the embodiment of …well, existence grows closer and closer to self knowledge through the synthesis of thesis and anti-thesis. Azathoth, who sits not only at the core of real space but at the center of the Dreamlands, and thus of both the waking and sleeping world, is the opposite. If anything, Azathoth is losing awareness, deluded by music and his own madness.

Of course, incorporating these ideas into a single story is hard. I suggest then a short vignette. A brief story of a decay to madness that has, at least on paper, another plot entirely. A story of a date, or of a confrontation with a father, or a bad day at work. A generally normal outline, that slowly decays both in the mind of the main character and in the outline overall. A place of insecurity can be magnified by the inclusion of a literally changing world. Albeit, at least physically, probably for the worst.

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Catoptrophobia

This Week’s Prompt: 42. Fear of mirrors—memory of dream in which scene is altered and climax is hideous surprise at seeing oneself in the water or a mirror. (Identity?)

The Relevant Research:Mirror Mirror On The Wall

My first dreams were fine. I didn’t even think they were dreams, while having them. I remember entire lives, and I guess the first of those is the one to start with.

The dreams started well after the the machine was running. They weren’t that bad at first, run of the mill nightmares. Falling through the floor, skin flying off, loud winds, that sort of thing. I wasn’t too concerned, at first. We were busy and wondering on dreams isn’t exactly a productive use of time in a facility like ours.

Of course, it really was the reverse. We really should have been paying more attention to our dreams. Dreams and visions are the secrets to the Kingdom and such. But I didn’t. I sat down at the control desk next to Dan, looking over the hollowed column of shining silver. Purified, rariefied, polished silver. A mirror of lunar metal, a hundred huddled faces staring back at us with the same coffee addled anticipation as us.

“Alright, calibrating now. Control, are you there?” Dan asks, twisting one of the many many dials on our desks. There was a buzzed reply.

“Think we’ll get something this time?” I asked, flicking a few switches. The column began to bend, the reflections forming a callidascope of reflected images, only a few showing our complete faces. Dan shrugged.

“Beginning oscillation.” I said into the intercom mic. The all clear came back, and with that the screaming started.

Oh, no, not from anything horrible done to us. Not yet. No, the sound was a recording, or a set of recordings. I moved the pitch up and down, watching it echo through the mirrored chamber. Little rippls and cracks formed along the edges of the mirrors, and the reflections began to distort. The Bloody Mary principle seemed to be coming through.

The idea was pretty simple, and for an occult science, fairly sound. Noises near mirrors caused disruptions, misforutunes, called up terrible entities and ghosts. There was a great deal of potential in that in-between space that was just on the otherside of the mirror. A thin barrier that, with the right amount of pressure, we hoped to crack.

Based on studies, we reckoned there was something to learn from the other side. Something about what the foundations of the world are, or perhaps what lies beyond our own. What is inimical to life, does anything transcend our petty corner of reality to all cosmos? Do we have like-minded thinkers to await us?
So we built a machine. We found the noises that pierced the soul, that drew attention best. We found perfect mirrors and arranged them in thousands of angles. And now, Dan and I spent hours blasting them with simulations of screams, waiting for a ripple to spread, a sign that the other side had heard back. It wasn’t exactly the most pleasant work. It wasn’t surprising that at night my dreams were, as I said, a tad disturbed.

But we really should have noticed. Should have asked, should have talked about it, in case…well, I’m getting ahead of myself.

CoverMirror.png

That day was unlike other days, in a way you have probably anticipated. You see, for once, the mirror began to flicker, the silver began to peel like paint and ripple like water. The reflections bent and burned, eyes widening, subsumed by great pupils that became darkness as they were torn open to reveal something new. Something that wasn’t on our side of the shining fence.

And then…darkness. There was still the screaming, the modulation stopped where the dial left it, a low and deep sound that almost resembled a dying whale’s song. There wasn’t anything else, just an inky black so complete that I was certain I was sleeping, if not for the continuous screaming.

When the lights came back on line, when the world started to fold back to itself, it looked different. The first, most obvious difference was the column. There was a hole, lined with the mirrors, extending backwards. I couldn’t tell, just looking, how far back the hole went. The lights didn’t reach all the way back, and even if they did, reflections would make just visually measuring the depth hard. Okay, that was an after the fact realization.

No, what struck me first after the ‘why is there a hole in the middle of the machinery’ was, well, ‘What had knocked me and Dan over and was Dan breathing?’ There was broken glass everywhere. When I started to pull myself, up I had to stop because my hands felt like they were full of needles. Something had gone horribly wrong. There were alarms going off now. I ignored them like I ignored the other loud peircing noise and push-crawled to Dan. He looked alive. He seemed to be breathing. His breath fogged up a bit of glass I could barely hold over his mouth.

After that, some emergency folks came in. I lost consciousness again.

WormMirror2.png

I didn’t wake up in a hospital bed. I woke up, first, in a room. A plain room, with curtains around every wall and a breeze coming through. The tile floor was cold to walk on. I stood, staring at my hands that seemed fully healed. As I stared at them, I saw things moving beneath the surface. Worms crawling in my skin. It didn’t bother me much.

There was nothing else in the room, but it felt more like I was swimming then walking. It wasn’t hard to move, but it was…heavy. I looked around some, pacing around the place I had been lying. There wasnt any furniture, but the floor had felt like a bed before.

With nothing else to do, I wlaked toward one of the curtains and grabbed it. It felt like human skin. I pulled and pulled at it, to see what was behind it. Just when it was about to give, I woke up again.

I woke up this time in the hospital room, with curtains surrounding me and the beeping of machines beside me. This was to be expected. I had been in accident. There were people talking, silhouettes I could make out, all in hushed voices. Something had gone wrong, that much was certain. Someone behind the curtain sounded nervous, afraid.

There was a pounding on the door. A man gestured towards it, I assumed. He then peeled back the curtains to get a better look at me.

“Hello, David? I’m Doctor Stevens. Nod if you understand.” the Doctor said. He was wearing a face mask, and saftey goggles. Excessive, I thought, for what my condition was. I lifted my head a bit. My neck really hurt. But I managed to nod. My hands still stung as I tried to move them.

“Okay, great. Now, there was an accident. Do you remember the accident?” the Doctor asked. More pounding on the door, some shouting. I nodded again. My mouth felt dry, really dry. I worried if I opened my mouth, I’d suddenly speak only ashes.

“Alright, now, do you remember who was with you in the control room?”

Another nod.

“How many people where in the control room with you?” the Doctor asked. I heard wood cracking. The door was breaking. I turned slowly towards the noise to not hurt my neck anymore.

“Ignore that. How many people where in the room with you, David?”

I raised my hand cautiously, holding up a single finger. My hand stung, and I think blood was still running down my palm. Doctor Stevens nodded.

“And after the accident? How many people, before you pass—”

I frowned. After the accident? The security guards I guessed. Counting in my head, the cracking grew louder. I managed to hold up fiver fingers before the door smashed onto the ground. There was screaming and shouting. I squinted to see what was happening on the otherside of the curtains as Doctor Stevens ran.

There was a thing out there, a sillehoute. Hands, on the ground, grabbing and pulling down. I saw Dan walking. No, floating, like some forgotten spectre. He pushed through the crowd as it grew quiet, as screams became choking sobs. I saw his hand…or what was left of his hand, reaching up along the curtain, pulling back at the edge, pulling it aside. I caught a glimpse of maggots festering, a mass of rotting flesh and new born flies pouring from his dead eyes. His pupils, or a black abyss like pupils, was swelling over his face, hanging over his cheek bones.

I woke again. I awoke not far from here, alone in a bathroom stall. New clothes, new skin even. Still felt…well, felt tingly. But when I looked in the mirror, I saw a pair of bloodshot eyes and a face I’ve never seen before. Yeah, this face. I don’t know who Jacob is. I don’t know why my hands still feel like their bleeding. But that’s not important.

Eyes.png

I saw my eyes, detective, I saw them. The pupils are growing wider.


 

This weeks prompt suffered from a loss of my time. I think the premise of piercing a veil through mirrors has promise, and might be revisited latter. And the pupils feel a bit…well, corny at the moment. A draft more than a story for now.

 

Next time, we delve into the depths of the earth, and find unsuspecting foes! What will we find below? What daemons lurk in the deeps of the fertile earth?

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In The Closet

This Week’s Prompt: 37. Peculiar odour of a book of childhood induces repetition of childhood fancy.

The Research: Childhood Dreams

My home was much as I remembered it. The old house was still there, with the same squeaky rickety stair. My brain added the missing hollering at dad to fix it for once in his goddamned life, and the perplexity over how exactly out here in the desert there could be something so moist as to squick. When I was little, used to wonder if it was worm guts or ant insides crushed against the nails.

It’s been several years now since we left the old place. I spent the better part of my childhood years here, and even when it became my dad’s house instead of our house, I’d still visit over the summers. Now that he’s gone, having found a way to drown in the brittle bone wastes of Arizona, it was mine again. It was eerie, how well kept everything was. How meticulously well kept everything was. It was a curiosity over such antiquarian tendencies that led my feet clacking up the stairs towards my room when I was little.

There is something cliché in the parent maintaining perfectly the state of nest once it’s emptied. It was some relief then, that the bed was so broken and beaten. No doubt a raccoon…no, that’s upstate talking. Coyotes then, or javelinas or gila monster or I don’t know. Some sort of small animal. Maybe an imported raccoon.

The place was an absolute wreck, books strewn across the floor and blankets shredded and sheets wrapped into strange bundles. Still, there was one book that seemed mostly intact. The Watsons Go To Birgmingham. Never liked it much, too serious. But as I thumbed through the pages, the smell of rotting cod wafted up and out, and I saw the bones stuffed between the doodles.

When I pushed the bones between the pages, back when I was only approaching the first decade of my life, I didn’t know dead cod would smell like. That came with the move up north. But I knew what it smelled like. It was the nightly creature that would come scuttling into my room and the house, make off with a few things, move a few things, and then go back.

I had three friends back then, Tami, Chris, and George. They didn’t believe me at first when I told them that I had seen four sets of glowing eyes in the night. It’s limbs were like a MR. PLASTIC ™, stretching out to pull its skittering form forward. It was gross and slimy and squirming and ick ick ick.

“Right, but it’s not hurting anyone, so who cares?” Tami asked, tossing a rock at a cactus. “Sounds like a neat pet.”

“Yeah, but what if later, it gets hungry?”

“Then bring it a shaking cactus?” Chris said, letting another rock fly. It hit an adobe wall and a dog barked at us irritably. “I mean, a kid in Phoenix, he goes to my school. Says that a kid he knew had one of them, and after a few days it burst into a bunch of spiders. Had to fumigate the place.”

“Ew, why would I want that?” I said, playing with the stones.

“Well, then it’ll eat the spiders. Problem solved.” Chris said with a shrug.

“But wouldn’t it run out of spiders?”

“Yeah, but see, you’d move already. Because even grown ups don’t like spiders. At least, not that many. And maybe the fumigators would kill it.”

“Guys,” George said with the uptmost childhood sincerity, “I think your missing the obvious here.”

“What?” Tami asked, tilting her head.

“We catch it.” George said, eyes all a glitter. The three of us should have laughed, but now the prospect seemed tangible and real. We could actually catch it. Maybe.

“How would we?” Chris asked, having stopped throwing stones to consider.

“Well, it does crawl about. Maybe we could steal some mouse traps?” I asked, thinking to the scurrying noises on the floor.

“We’ll need more than mouse traps.” George chimed in, waving his stick around. “Monsters fight back, don’t you know? We’ll need some bats or big sticks and a blanket.”

“Why a blanket?” Tami asked, frowning.

“Because, you know, birds fall asleep when covered by a blanket right?” George said. There was a general nod of consensus. “Right, so I bet this things like them. Or like a dog, and it’ll get real confused, and that will mean we can whack it before it rips our eyes out and eat them.”

There was a general hiss of disgust at the mention of disfigurement and anthrophagy, that died down after a bit of nervous laughing. Tami mentioned that she could swipe some of her dad’s golf clubs and George and I agreed that that would do nicely for beating in the things skull. So we began that day to set our fateful trap, for the thing lurking in my house.

It had to be at a sleepover, to get us all over to my house. My parents were surprised and pleased that I was having friends over, having grown used to an almost pathological avoidance to admitting relation to the house. They thought it was because it was old and squeaky. Because they didn’t know that no kid is inviting their friends over to get eaten by monsters.

The next trip was staying up late, with the lights off and all of us ‘asleep’. We figured noise might scare it off, or maybe draw its attention. In a kids mind, the line between ‘thing we’re going to beat up’ and ‘thing that will eat me’ is a flexible, blurry one. So we carefully measured our breathing and tried not to jump with excitement or fear when a coyote howled outside. A coyote walking the streets, you must understand, was quite the event.

But we strained our eyes awake. Well, okay, George and Tami did. Chris fell asleep, despite the efforts, and I was on the verge of dreaming when the scurrying in the living room jolted three of us up. George held a finger to his mouth and Tami slowly handed out supplies from the gym bag she had brought her stuff in. Sadly, they were mostly baseball bats. She said golf clubs were too big.

So we quietly opened the door, Chris having the blanket as punishment for being a little kid sleepy head who couldn’t stay up late for a monster hunt. I had the flashlight, since it was my house and I’d be damned if we were going to hunt a thing blind and groping in the dark. So we went out carefully, a flickering column of light running head of us. Slowly we made our way to the pantry, where there was a scurrying hissing noise of the most awful sort. And sure enough, there we found it.

It was like a newt with a spiders face and the mouth of a gila monster. It’s gaping toothless maw was surrounded by dozens of blank, empty eyes reflecting back my light, a sudden candelabra. It swallowed up our screams like fish rushing into the hungry jaws of a bear, but Chris was quick as a whip and tossed the blanket over it’s face. Fear turned to adrenaline and we shot ahead swinging. Battered and bruised, it belched and groaned and almost roared until we stopped an eternity later.

Newt Cover

Body disposal had been briefly discussed, but temporary storage had been arranged. We dragged the body back, and with careful work propped it up on a close iron in the mouth. A few fish bones fell out and, to hide them, I shoved the bones into whatever book I could find.

And in the room, I wondered if I had ever taken the thing down. Never named it. Bragged about it for years, but when we left I kinda forgot it happened. So, with a dulled curiosity, I opened the door and was struck immediately by the smell of rot. But there it hung, like meet on a hook, its eyes swollen and dried out. There was something glimmering there, some little flash of light as I closed the door again. But I’m not that worried. After all, its dead.

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