There Is Nought But Chaos

This Week’s Prompt: 80. Shapeless living thing forming nucleus of ancient building.

The Resulting Story: The Shifting Temple

This week we are given a topic that we have, in the past, covered with some detail. The notion of a living core of an ancient structure bares a resemblance to notions of shapeless forces we discussed regarding Azathoth—we will be re-discussing some of those here, with greater detail and focus, as well as some other forms of living structures.

There are two parts to this prompt, each worth review in equal part—the shapeless and the center. That is, there are creatures and stories of things who’s shape cannot be known, and of things that support buildings and worlds. Both will be discussed—particularly when they overlap at the end.

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First we will discuss the most fantastic—the shapes at sea that support entire camps, and resemble islands from afar. This is actually the origin of the Kraken, a creature recorded in biology texts from the eighteenth century. There is another such creature in Norse tales, the hafgufa. Recorded as a giant whale, the hafgufa resembles an island from afar—in some tales, its nose is so massive that it suffices for an island!–and it is noted both for its taste in ships and men, and its peculiar means of attracting prey. The hafgufa is a species of two in some texts—and both are infertile, otherwise the ocean would be over run by false islands. In some texts, the hafgufa is also called the Kraken—albeit a whale not a squid. You can find more of it here.

Medieval Bestiaries produce another whale like creature—or sometimes turtle—who is so big, it’s back ridge has trees growing on it and valleys form around it. The aspidochelone is sometimes more sinister however—its appearance of false life and safety are an allegory in one text for the Devil and demons, who seduce the desperate.

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In Ireland, the stories of Saint Brendan the Navigator tell of a strange beast that appeared as an island and breached his boat. The Saint here is safe—the whale sinks after a fire is lit on it’s skin, much to the shock of the crew but little harm.

In Chile, there are stories of a similar creature—although it is more commonly in lakes, the Cuero is a danger to sailors who draw near it’s lure. Sometimes the shape is like a cow hide, sometimes an octopus, sometimes a stingray. Here is a more in depth article on not only the legend, but histories of it’s recordings

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Then there are those supports that are much wider and vaster then a mere ship. The World Turtle, for instance, carries…well, the world on its back. Sometimes this is a literal and direct holding. Kurma, for instance, supports the world directly in Hindu stories. Other stories, such as when Nuwa repaired the sky, have the turtle shell as a form of architecture somewhat removed. Turtle Island refers to this imagery as well—the notion that the Americas are on the back of a great mythological turtle. Other stories—the most obvious being Discworld—suggest the world is on the back of four great elephants, and then on the back of a turtle.

Bahamut is another supporter of the world, albeit a fish with a great bull on its back. Found in Arabic sources, Bahamut is more terrifying then others. The bull on its back has a hundred legs and horns, and Bahamut itself is so vast all the worlds oceans would fit into its nostrils like a mustard seed. It is also the farthest removed of all the great beasts—on its back, the bull; on the bulls back, a ruby; on the rubys back, an angel; on the angel’s shoulder, the world.

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The map of the world here is rotated on it’s side–Bahamut is the fish

Of course, there are also non-sentient living supports. The World Tree can be found in cultures around the world. The famous Norse Tree Yggdrasil holds the nine worlds in it’s branches—and is echoed in the Volsung saga, were the house of the Volsung’s has a great tree holding up its roof–the tree is called Barnstokkr. There Odin—well, a stranger who resembles him greatly—places a legendary sword, that begins their undoing. Further south, we can find the world tree in Zorastrian stories. The Gaokerna is one of many great trees—its fruit is immortality, and will be key to the recreation of the universe. Beside it grows the Tree of Many Seeds, where all plants have their origin.

Not far away from the Zorastrian myth, we have the world tree of Kabbalah—a tree that, I have heard at least, is often depicted upside down. The Tree of Life here holds many worlds, as the light of divinity is refined downward from the undivided Ein Soif into this world. Kabbalah as a tradition is rich in symbolism and complexity, and should have more of an article at some point. The interesting point to me, however, is the suggestion of a reverse tree–a Tree of Death, that runs counter to the virtues of the Tree of Life and is made of the shattered remains of an earlier world. 

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The top portion of the World Tree found on Pakal the Great’s tomb.

Maya world trees are commonly depicted in artwork—the tree runs from the underworld into the heavens. Like the tortoise shell of Nuwa, the tree was constructed after a flood—the destruction of Seven Macaw and the end of the wood people—and like stories of Ymir and others, it is fed by the blood of gods. Some link it’s form to the visible Milky Way in the sky

All of this brings us slowly round to the most literal form of the shapeless center—Chaos, Khaos. Beginning with the most literal, the Greek conception of Chaos is the source eventually of all things. The form or force that precedes all the rest of existence, Chaos is gloomy and far away—and not terribly relevant to most stories. Chaos is the origin directly of Night and Darkness, and sometimes the foundation of reality itself.

Chaos is not the only strange and shapeless originator in Greece are concerned. There was the strange shape in Demophon’s casket, which was the first topic we discussed discussed (and which was rewritten on our Patreon here). Chaos in other cases contains all elements. When Milton depicted King Chaos in Paradise Lost, he maintained this for the realm of Limbo, where elements fly about.

Biblical starts of Genesis refer to an abyss of water from which the world was made—using the terminology that neighbors used for Tiamat, a vast sea monster that was also eventually the root of all things and truly varied in shape. What this abyss was is a topic of much debate, especially in esoteric circles.

Chaos can be joined by Hundun. Hundun is a Chinese character, a faceless wanderer that is the originating chaos of the world. I recall best a story of Hundun from the Taoist, Chuang Tzu: The Emperor of the North Sea and the Emperor of the South Sea once met with Hundun. Grateful for his generosity as a host, they offered to repay him by giving him the seven holes all men have (eyes, nose, ears, mouth). Each day the bore another hole in Hundun’s face.

On the last day Hundun died.

Hundun has other comparable descriptions, often like a lump of clay and making a sound like thunder. It is malleable, sudden, and terrible perhaps. Or just hard to see, touch, or discern except by its overwhelming presence.

Taoist notions of a shapeless root of the world are common in Chuang Tzu’s writing. We can consider the story of the Shaman and Hu Tzu. Hu Tzu, a sage, changes his complexion and diagnosis at every meeting, culminating in this one:

The next day the two came to see Hu Tzu again, but before the shaman had even come to a halt before Hu Tzu, his wits left him and he fled.

“Run after him!” said Hu Tzu, but though Lieh Tzu ran after him, he could not catch up. Returning, he reported to Hu Tzu, “He’s vanished! He’s disappeared! I couldn’t catch up with him.”

Hu Tzu said, “Just now I appeared to him as Not Yet Emerged from My Source. I came at him empty, wriggling and turning, not knowing anything about `who’ or `what,’ now dipping and bending, now flowing in waves – that’s why he ran away.”

That the ultimate origin of reality is shapeless and indeed perhaps unable to be shaped is not unique to these presentations: Ein Sof, the infinite roots of the Tree of Life, is beyond definition as a being. The Prima Materia is less sentient, but the raw potential of creation that can—in theory—be shaped into just about anything that’s desired. These forces of chaos are also vitality—they are shapeless and thus support all shaped things. They are the raw stuff at the very core of life in the world.

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I couldn’t figure out how to cut this properly, so enjoy the image of the Prima Materia or alchemical mercury–the cubes are the mercury.

This I think could be the source of our horror story—instead of merely discovering a shapeless core at the center of the world, we could present a story where that shapelessness is vital to the world and its movements. And if that shapelessness collapses—if like Hundun, it dies on contact with the five senses—then there is a tragedy at play too. By discovering the truth of the world, something about the world’s vitality is lost. I could go on about how defining something restrains it, and so on and so on, but I’ll leave that for the musings of the story.

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It’s a Masquerade!

This Week’s Prompt: 69. Man with unnatural face—oddity of speaking—found to be a mask—Revelation.

The Resulting Story: And Off Fell His Mask

This prompt is a fascinating one. Partially because, again, it calls to mind a specific pulp story that inspired it. Partly because masks are such a fascinating thing to me—masks and personages and disguises are so strange. This corpse has a good deal of promise, I think, especially in my reading between the lines that our man with a strange face is a stranger arriving—a form that has some folkloric resonance with revelations.

The first unwelcome and amazing guest I can think of in the realm of Folklore is the Green Knight. The Green Knight is a variant of the Wild Men we discussed long ago—however, he is a more civilized sort. He dresses in knightly attire—all green, with a great green axe, a green shield, and a green horse. His most famous incident is the tale of Gawain and the Green Knight. Arriving on Christmas, he offers to play a game in King Arthur’s court. The game is simple: someone strikes him with the ax, and he returns the blow in a years time.

Gawain and the Green Knight

The Green Knight after his game.

King Arthur initially rises to take the challenge, but Gawain steps in. Gawain reminds the king that without him, the kingdom is naught, where as without Gawain it is…well, probably going to last longer, but that’s another story. Gawain steps up and takes the ax, and lopes the Green Knights head off, presuming that the lethal blow will end the game there.

The Green Knight, a poor sport, takes his head, wishes everyone farewell, and rides off. The rest of the story, including the final confrontation between the Green Knight and Gawain can be found here, and is an interesting read if you are interested in English Poetry.

Moving our folklore away from the British Isles, let’s consider the Popul Vuh. Here, the Hero Twins are our guests of honor. After their first death at the hands of the lords of Xibalba—they got better, don’t worry—the hero twins became traveling magicians. They burned down buildings, and then used magic to restore them. They slew animals, and used magic to resurrect them. And then at the end, one twin slays the other, and restores him to life.

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The Hero Twins doing their favorite trick, on the left.

It was this last trick that drew the attention of the thirteen Lords of Death. Intrigued, they invite the two magicians to preform. At the end, the Hero Twins invite One Death and Thirteen Death to partake in their greatest feat of slaying and raising the dead. Of course, on this occasion, the Twins do not raise either of the Lords, and force concessions from the other eleven to restore them.

We can also consider, with the element of a mask that resembles a face, the story recorded as from the Pima Indians, regarding the masked man and the turtle. The masked man, Nahvahchoo, travels the world unearthing treasures and dangers in every direction, learning the might of the winds in each of the four directions, and meeting a powerful bow at each part of the sky.

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Then there are more absurd or strange instances. The Ball of the Burning Men—Bal des Ardents—was a masquerade ball held by Charles the VI that ended in rumor, fear, and death. The masquerade included a performance of various members of the court, including Charles, dressed in wild men outfits and, according to contemporary chroniclers, baying like wolves and shouting obscenities at the audience. A celebration of a lady-in-waiting’s marriage, the ball became gruesome when Charles’s brother brought a torch to close to the five dancers. All but two dancers died in the ensuing fire, as the costumes took light. The dance’s wild nature, and the gruesome result, lead to public outrage and rumors of sorcery in a decadent court. Fear of revolt drove the king and his brother to offer penance at Notre Dame Cathedral shortly after.

The king’s brother Orleans is of interest here, to me anyway. He was accused of sorcery at this event and later ones, and was considered to have made an attempt on the kings life. The event itself is fascinating in consideration of our prompt, as the wild man costume resembles a man with a deformed or strange face. Here, however, it was a guest without a mask that started the terror, instead of one of the masked men.

Masque of the Red Death

It may have, however, inspired a famed horror story that keeps to the idea of mask and revelation: The Masque of the Red Death. This classic tale of horror sees the nobility sequester themselves off from the rest of the populace as a plague—the titular Red Death—sweeps the land. As the prince Prospero celebrates in his castle, decorated with seven rooms for the seven sins, an uninvited guest arrives. Dressed in all red and with a strange mask, the strange guest worries the party, until at last he is chased through the halls by the Prince Prospero. After his arrival, the plague strikes all the members within dead.

And then there is the play that is both before and of the mythos: The King In Yellow. A short story collection that predates Mr. Lovecrafts own work, the King In Yellow is a collection of horror stories that feature the recurrent element of a play. The play is normal, until the second act. The second act is maddening and terrible to read or witness, driving others out of their wits.

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The play is, for a feature of the mythos, suprisingly detailed. We know, for instnace, it features a kingdom called Carcosa, features at least 3 characters (Cassilda, Camilla, and the Stranger). It deals in one way or another with a place or thing called Hastur, and the arrival of a guest who’s mask it is revelead to be his face. The play is given vague description in Repairer of Reputations:

He mentioned the establishment of the Dynasty in Carcosa, the lakes which connected Hastur, Aldebaran and the mystery of the Hyades. He spoke of Cassilda and Camilla, and sounded the cloudy depths of Demhe, and the Lake of Hali. “The scolloped tatters of the King in Yellow must hide Yhtill forever,” he muttered, but I do not believe Vance heard him. Then by degrees he led Vance along the ramifications of the Imperial family, to Uoht and Thale, from Naotalba and Phantom of Truth, to Aldones, and then tossing aside his manuscript and notes, he began the wonderful story of the Last King.

The end of the first act, in the same tale, ends with the terrified Camilla’s line “Not upon us, oh king! Not upon us!”

The King in Yellow is a reccuring symbol in the Mythos for one of it’s most peculair entities: Hastur. Hastur to me is of especial intreast for a few reasons. One, Hastur proceeds the mythos as a body of literature—he appears first in an Ambrose Bierce tale as a god of shepherds and is rather benign. When he appears in the King In Yellow, Hastur is again strange and an entity of uncertain providence. Mr. Lovecraft and Derelth later rendered him more malicous in later works, a sort of rival of Cthulhu. Later still, AD&D’s Manual of Divinity gave him another strange aspect—Hastur’s capacity to be summoned by reciting his name three times in a row.

Now, what’s interesting to me in all this—and a portion of Hastur and the King In Yellow that is not often discussed in my opinion—is an odd parallel. We have here a deity, ancient and vast beyond compare, who is fond of shepherds, passes judgement–”not upon us oh king!”–and is served by strange servants. The usage of this being’s name infuriates it, it detests and wars with another old being in the sea, and its judgment leads to the end of the world. Why, I have heard of such a god before.

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The Climax of the Bacchae

Well, I’ve heard of two. One that I will mention here, returning again to Greece, is the tale of the Bacchae. Here, Dionysus returns to his home to conquer it. He is seized by his brother, Pentheus, and not recognized—Dionysus has disguised himself as his own priest—and then imprisoned. After breaking free, as gods are want to do, Dionysus unleashes fire and earthquakes before confronting Penetheus. At this confrontation, shepherds come and tell of strange madness afflicting women in the hills. Some are tearing animals to shreds, or braiding their hair with serpents, or suckling on wild animals. Included among these revelers is Penetheus’s mother. The farmers tried to seize them, but were in turn torn to shreds by the women’s bare hands.

Penetheus, alarmed at the madness, plans first a massacre. Dionysus, however, persuades him to instead spy on them to learn their secrets. As he dons his disguise, Penetheus begins to see strange visions—two suns overhead, and horns emerging from Dionysus skull. Convinced of his limitless strength, he goes out to spy on the cult. He is found and murdered by his own mother, convinced he is a mountain lion. Cradling her trophy, Penetheus’s mother comes to her sense at the words of Cadmus. She and her followers are driven into exile for their crimes, and Dionysus turns Cadmus into a serpent before leading a barbarian horde to conquer the city.

This has the elements that clearly resemble the King in Yellow—there is madness, royalty, fear, and the end of a dynasty. As Hastur evolved, he too acquired a reputation for debauchery, although more of an upper crust decadence then the more barbaric and countryside madness that Dionysus seems to specialize in.

I think a retelling of the Bacchae is the most interesting route to take. It deals in many ways with the themes that are common in Lovecraftian horror—the arrival of an other, the terror of madness and affliction, the decay of societal norms (perhaps for the better, perhaps for the worse), and with the victory of the unknowable over the known. We also have a handful of roles or characters at the center of the drama—Penetheus, Dionysus, and the Maenads, with a few nominal characters. Of course, there should be some alterations. As is, it might read that the Other, the outsider, the non-authoritative is the dangerous and thing to be feared. And while that might be the intent of Mr. Lovecraft at times, such phobia of the powerless is hardly the work of fiction.

What about you? What masks do you fear? What revelations to they hide? What horrible things wait?

 

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Calling Up the Dead

This Week’s Prompt:52. Calling on the dead—voice or familiar sound in adjacent room.

The Resulting Story:A Dreadful Tapping

Necromancy is upon us, fellows! Dark sorcerer at last revels itself! But perhaps you are confused…this is about only sights and sounds. How does this relate to Necromancy, which much of popular culture conflates with zombies, skeletons, liches, and the summoning of undead war engines or hordes?
Necromancy, at it’s base, is much simpler then all these things. A necromancer attains knowledge by communicating or contact the dead. The modern word has it’s roots in just that meaning (Necro meaning dead, mantiea means divination). This has a number of cultural ties to be discussed at length here, as it might give insight into the unsettled spirits above. And of course, we are necromancers here aren’t we?

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The first place to start, although not the oldest, would be the Greek conception. Necromancy here is most apparent in the works of Homer, specifically Odysseus’s voyage to the Underworld, where by blood offering he acquires the aid of a long dead sage. These could be elaborate rituals in later times, and often relied on the conjuring of specific shades for their precise knowledge.
Related to the Greek school of thought is the Jewish and Old Testament relations of necromancy. Necromancy, for a variety of reasons, is forbidden under the Law. It was a Canaanite practice, and further, it disturbed those God had claimed. The existence of shades to conjure was also severely questioned by later Christian critics. However, there is a noteworthy account of necromancy here as well. The Witch of Endor.

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Wrong Endor, ya dolts.

The Witch of Endor episode occurs during the book of Samuel, where a Canaanite woman is asked by King Saul to conjure up a dead prophet and judge in order to learn his fate. This resulted in the King being roundly condemned for daring to disturb the dead in his quest for certainty.
Moving farther abroad, the means of contacting the dead are known in China as well as the Mediterranean. More often, mediums are used there to contact the dead then conjuring as we know it. However, the Chinese authorities have perhaps a more elaborate arrangement of the dead, divided into forms based on death (In the way that other faiths might assign punishments). The hungry dead, those derived of ritual, are the primary ones to be kept at bay, while other deceased relatives might provide comfort or aid to their descendants.

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Note the bowl of scrolls, which would have been stained with her own blood.

The Maya priests also engaged in a sort of necromancy, consulting the spirits of Xibalba by shamanistic or hallucinogenic rituals and blood letting. They contacted otherworldly spirits this way, in a manner that might seem familiar. Ancestors again were a protective force at times, and knowledgeable about many things.
In the Northern European climes, there are records from a seventeenth century poem of a mother being called forth by her son after death, in order to defend him and free him from his stepmother. The mother adds her son by casting a series of spells to defend him.

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Among the Buryat people today, ancestors are the primary group to be consulted by shamans. After almost a century of Soviet oppression, however, many of the names of these ancestors have been lost. And worse still, several have found the places they inhabited to become nightmarish, with ancestors killed in Soviet prison camps manifesting as tortured and angry spirits barely intelligent to the mortal sense. These ghosts all need appeasements, as the various ills that befall a Buryat household are often ascribed to angered ghosts and displeased ancestors. These rites might involve sacrificial sheep or promises made with a shaman as an intermediary.

I could go on, my fellow society members, but the number of ghosts in the world is vast indeed. The dead are often restless, sometimes manifesting in human forms, sometimes in frightening ones. But to close this portion of research, I might bring attention to the phenomena that Mr. Lovecraft was particularly thinking of : Spirtualism.

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Spirtualism was a movement in the late 18th century, brought on by speculated causes, of conjurers and contractors of the dead. Mediums and seances spread through Europe, claiming to speak with the long dead through various devices they had. Now, whether the craze was built upon the notion of invisible forces as revealed recently by sciences, or the sudden access Europe had to Egyptian, Buddhists, and Hindu manuscripts through it’s vast colonial empire can’t be said. What can be said is that the séance was a common occurrence.
And the remains of these séances are wide spread. The Winchester house might be the most famous. Built by the wife of the inventor of the Winchester rifle, the house was always being built. Why? At a séance, the builder Sarah Winchester was told that she would be haunted by all those who were killed with the Winchester rifle. The house was thus a never ending labyrinth to confuse spirits that sought to harm Sarah, so elaborate that even within the last year new rooms were discovered.

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The Winchester House

Another séance inspired the religion of Spiritism in a young Frenchman, who believed he had come in contact with the souls of ancient druids. While Spiritism proper might balk at being termed necromancy, Allan Kardac’s discovery was of the secret knowledge held by spirits that had past on. The religion spread across the Atlantic and took roots in many Caribbean and Latin American countries, as well as to the French colony of Vietnam. Recently, I read an article detailing how the French movement influenced moral teachings in Iran as well. The faith maintains a following to this day, with thirty five countries on an international council.
This is all to bring context to the scene we have hear. A séance, a contacting of the dead is by it’s nature a strange and uncanny event. But here, we have a contact that was actually achieved. A voice is heard or a familiar sound (in proper tradition, probably some musical notes). So, what is the horror and dread here?
This won’t be a story, I feel, of a great overt horror. No one is going to be dismembered in gory ways. No one is going to go mad in the overt, grand, Gothic sense. A séance may be dripping with Gothic forms, a Victorian melodrama that disturbs the barrier between the living and the dead. But the horror is going to be…different.
Atmosphere seems key to all horror, but I think with something as small as a séance, where the shift is merely a sound, it will be primary. The horror here will rely on who is attending the séance, and who is conjured. And maybe what they say. After all, the voice of the dead might be one full of knowledge. But in a Lovecraftian world….well. Who’s says knowledge is a good thing? Ignorance is bliss.

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River of Fire

This Week’s Prompt:50. Phleg′-e-thon: a river of liquid fire in Hades.

The Resulting Story:Ill Fated Boat Ride
This week’s prompt appropriately enough brings us back to one of the richest goldmines that Mr. Lovecraft employs: Classical imagery and mythology. In this case, the Phlegethon, one of the rivers that runs along Hades, providing a boundary marker. The river itself is often described as alit with fire, flowing ( or “coiling”) into the depths of Tarturus, the closest thing to an infernal domain the Greeks had.

Phlegethon

Fittingly, then, Phlegethon has been maintained past the Classics into the imagery of Hell provided by Christian authors. Dante describes it as a river of blood and violence, boiling over as murderers and war criminals were forced to stay in it by patrolling centaurs. Milton places it and the other four rivers as parts of hell explored by the fallen angels, before the idea of tempting mortals is introduced. The Faeire Queene by Spencer has it scorch sinners, and even Mr. Lovecraft included it in the work “the Other Gods”.

However, as strange as a river of fire might sound, it is not alone in peculiar underworld rivers. Rivers, being natural dividers and boundary markers, often arise around the land of the dead, many with strange contents. Hubur, the Sumerian river of the dead, held dead souls in it’s depths against their will. Sillias, a river reported by a Greek traveler in India, allows nothing to float, but rather drags everything into it’s depths. The Vaitarna River is, to the sinless, a river of nectar. To the sinner, it appears filled with blood, bones, and pus. When the sinner approaches, flames appear everywhere. Those who try and cross, and are in fact sinners, will burn forever in the whirlpools in it’s depths.

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And of course there is Xibalba. Xibalba has a number of rivers. A river of blood, yes, but also a river of pus and a river of scorpions. These rivers mark the roads and borders of the Maya realm of the dead, to keep the living out and the dead within. The rivers must be crossed successfully,

These rivers often have fearsome guardians. Hubur has monsters with many arms demonic birds, the Phelegthon has it’s centaurs in Dante, and Vaitarna has hundreds of crocodiles and birds to devour the flesh of sinners before the cross.

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Of course, rivers of fire are not merely fantastical. There are multiple records of polluted rivers bursting into flames or exploding, sometimes for shockingly long periods at a time. The resonance of damned souls burning and industrial waste igniting is perhaps not an accident. It is a potent image, fire snaking it’s way down what ought to be it’s relief, a boiling mass of suffering from what is normally life giving.

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Rivers role with the dead we’ve discussed here, when talking of suicides at bridges, and here with Davey Jones. The river’s leading inexorably down to a place of punishment is not one we’ve directly addressed. However, as an image and mode for a story, flowing down a river unwittingly to doom seems as good a premise as any to describe the arc of a story. The realm of the dead is near the edge of the river, the damned are just below it’s surface struggling to be free.

I would focus on the rivers, then, and the journey down them rather than the dead itself. It can keep the story somewhat more grounded then we’ve been lately, more in the realm of the mortal than the completely supernatural. I’d suggest a borderline between the surreal but natural occurrence of flaming rivers and the wholly supernatural rivers of fire and hell would be a good place to work. A place of uncertainty, where the danger is real, but the extent is not completely clear. And the river is a good place to set such a story. Rivers are border places, where parties of either side might meet. It is a perpetual threshold between two places, endowed with motion onward.

The other recurring image is the attempt (and failure) to cross the river by sinful souls or inquisitive dead. Xibalba is the exception, of course, having been crossed and overthrown by the Maya Hero Twins, and even then it had more confounding traps past the river. Vaitarna allows people to cross with proper preparations, offerings, or after a lengthy time of suffering. Other rivers are generally safe to the sinless, a sort of natural filter.

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And of course, with many of these, the role of supernatural ferryman is a strong image. A ferryman who is more aware of the nature of the river and what’s around it. Charon serves this roll for the Styx, Guru’s for the Vaitarna, Virgil for Dante. These more than human guides might have a place in our story as well.

Come next week to see what corpse we pull from the boiling blood, and what it’s appearance resembles!

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Calamity And Woe

This Week’s Prompt: 48. Cities wiped out by supernatural wrath.

Resulting Story: The Fall of Anuel
This weeks topic is very similar to a number of earlier topics. We have of course, the tale of Irem from not that long ago. We have the hubris end-of-times discussion earlier. We have the stories of Atlantis. But lets see if there is more to discuss here, before going into what shape our plot might form.

We do have the lost cities of Lovecraft, including Ib and Sarnath. The people of Sarnath slaughtered the creatures of Ib, and the god of Ib in return destroyed Sarnath in it’s entirety. The Doom that Came To Sarnath records that after their victory over Ib, the people of Sarnath reigned for one thousand years. On the anniversary of the destruction of Ib, Bokurg, god of Ib, visits doom upon them.

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In Hindu myth, there are the Tripura, who were destroyed after their dominion over the world by Lord Shiva. The Asura who raise the city were once devout followers, and practiced many devotions to earn the blessing of Brahma and raise a great and impregnable fortress. The fortress could only be overcome if a single arrow overthrew it, a feat that only Lord Shiva could accomplish. Being devoted to him in their entirety, the Asura thought themselves safe. They went forth, and conquered the worlds. In time, however, they forgot their piety and were overturned.

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Atlantis’s allegorical myth bears repeating here as well. Founded by sons of Poseidon, the Atlanteans conquered the world. They were turned back by Athens. Unlike other, popular versions of the story, Atlantis’s original cause of destruction is not explicitly said, although they lost the favor of the gods certainly. Given our prior with Tripura, Sodom, and Babel, I would suggest they to grew proud.

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The hubris of man and his empires is certainly the running theme of divinely destroyed lands. This makes a degree of sense. Empires are mighty, all encompassing powers that often boast divine backing if not divine nature. Such boasts of power are almost asking to be undone and disproven by gods that do not endorse the nation in question. The arc of empire, often made analogous to the arc of comets, is one of tremendous rising force and stupendous, alarming collapse.

Which brings us to our plot to be examined: the fall of a city by the wrath of some supernatural force. The wrath of the gods is a varied lot. While there are traditional shows of force, such as shaking the earth or sending forth plagues, there are some that are more unique or disturbing. The flood caused by the gods of the Maya had the cooking implements of the people turn on them. A rain of frogs appears in the Old Testament assault on Egypt. The Curse of Cain is that of wandering with no hospitality. The gods of Olympus regularly transformed those who raised their ire, from Arachne to Niobe. There is , in general, a large degree of imagination in imagery when the gods deign to unleash their terror on the world.

or, Qualtiy over Quantity.

But what our plot might have that separates it from the other resurrected corpses is that our story of fallen hubris doesn’t take place in the narrative past but the narrative future. This would bring it in closer connection with the Prophecy of Tammuz. A story of an impending, doomed collapse. The final, waning days of an empire before the gods level their wrath upon it.

In fact, I suggest we split our story up into three temporal parts, five hundred or so words each. The decay will be apparent in the in-between times, as omens are made apparent and ignroed, as prophets call out warning but are ignored, as sins are damned and the victims cry out, apparently ignored. The wrath of the Gods is often kind enough to send some warning ahead of it. We will then have on display all the ugliness and vice of a city that will be destroyed.

Our first scene then, would establish the empire as it is. What is it’s glory? Grandeur? Not yet decadent, to the view of the audience, but rather a vast and glorious thing that only occasionally hints at the suffering cities of hubris are built on. The second scene would refocus on these, bringing the decadence to the for. We might here introduce more overt omens of doom, that the audience is aware of but the characters are dismissive of. Prophets, perhaps, or strange figures in the sky. Black stars or ghosts of lions. Omens are a fun bunch.

The third act would not be the doom itself. No, it would be when the characters themselves are aware of their doom. Whatever act caused their doom, whatever the hubris was, is now made apparent. The gods wrath has begun, if it is a plague or similar slow acting misery. But the finale, the final act of judgment has been proclaimed but not carried out. So we end our story, with our characters alone and frightened, acutely aware they are going to die soon, that they have no recourse to escape, and no one else to blame but their own deeds. The end of a tragedy.

I would focus our story on those most likely to be the most decadent members of society. A story of hubris loses some of it’s veneer if we view it from the downtrodden and suffering. And while such people have their own horror, that of an fate they did not ask for and do not deserve, such story seems more difficult to preform in a short span of fifteen hundred words. I might toy with the notion of contrasting characters, however. A prince and pauper perspective might add some depth and contrast to the apocalypse. And it might help add some shades to the typical moral against hubris.

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If we do get such a perspective on the city in question, the cause of wrath I feel should be more than just hubris. Building the Tower of Babel is fine for a work of myth, but we work in smaller symbolism. We will need butchers, slavers, exploiters of everything under the sun, monsters of men that are themselves proof against the city’s right to exist.

This will take some meditating. Such horrific crimes aren’t often revealed in myths of hubris and devastation. Just that they were there, and the group in question was deserving in it’s annulment. I will think on what sorts of crimes could warrant such devastation. One of my favorite sources is Chariot, a tabletop game I’ve never played but I commend for it’s writing and world building.

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The Gate to Nothing

This Week’s Prompt:36. Disintegration of all matter to electrons and finally empty space assured, just as devolution of energy to radiant heat is known. Case of acceleration—man passes into space.

The Resulting Story:It Fades,It All Fades

The prompt this week is one of a cataclysm made by human kind’s ascension to an unacceptable height, specifically beyond the bounds of the earth into the stars. There are echoes of similar stories in both Classical and Biblical stories of hubris that we will discuss before examining the possible story routes this might take, from stories of survival to stories of despair. And perhaps how each could take the form of horror.

Hubris is a tradition among the Greeks for years. It is perhaps best and most famously expressed in the story of Icarus, where in Daedulus is imprisoned by King Minos in a labyrinth of his own construction. Daedalus constructs two sets of wings using wax and feathers in order that he and his son might fly across the sea and escape. He warns Icarus not to draw too close to the sea, or the waves will engulf him, or too close to the sun, where the wax will melt. Filled with joy at his wings, however, Icarus flys toward the sun and then plummets to his death as his wings melt away.

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Bellérophon, one of the first heroes of Greek Myth, likewise meets his death in ascending. With the horse Pegasus, he attempted to ascend Olympus after slaying the Chimera. He attempts this twice over Pegasus’s protests. The third time, Pegasus bucks him per Zeus’s instructions, and Bellérophon…well, plummets to his death.

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These two stories of hubris, however, are personal tales. The prompt is regarding one of more cosmic significance. And for that, there is the time honored tradition of the deluge story. The deluge is a tradition across the world, and often has something to do with humanities…problems. Among the Greeks, the Deluge was over the decline of Bronze Age man. Among those of the Near East it was due to the noise caused by humans, disturbing the sleep of the gods. The Bible implies, by placement, that the flood was caused by perhaps the Nephilim or the raising of the Tower of Babel. The Maya story varies, but reasons include transgression or neglect of proper duties.

I could not locate the cause of the Hindu flood, which was also survived by a man with a boat. This begins the second theme of these myths: after the deluge, the survivors (if there are any. The Maya story has every member of that race of mankind destroyed) repopulate the earth and often play some role in defining the laws that are to come. This next race of human kind is almost always shorter lived and less grand then their ancestors as well. But they are more pious or perhaps more strongly instructed to avoid offending gods in that way.

The flood then is the means by which the divine punishes mankind for stepping past his bonds. But…well, the heat death of existence is a good deal more permanent then that. Heat death is the reduction of all movement, all existence to nothing. The prompts to something more like the end of Ragnarok or the floods of fire in Revelation, which have a sense of total annihilation. These though are eventually followed by rebirth. The death of the Sun in Egyptian and Aztec myth is more akin perhaps, but still not quite imminent enough.

No we must abandon folklore here, I fear. It is too cheerful and lacks the sort of dread and doom that this story seems to imply. The fear being invoked here is one of emptiness, of annihilation in every capacity. It’s an almost tragic doom decreed by fate. And for that, inspiration might come from the realm of Poetry.

Particularly, the poems around the end of World War 1 come to mine. T.S. Elliot’s Hollow Men at the end becomes that disturbed and doomed atmosphere. The Second Coming by Yeats is much similar, although one filled with dread of a coming future more than a wasteland. There is in both, however, a sense of collapse of the world and everything around it. From these we might create an account of the final days of the universe.

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The horror of annihilation must be balanced against the implicate tragedy. After all, while a slow death of existence is somewhat horrifying in the existential way, it is …well, rather dull. By definition, little happens as the universe winds down. It is a whimpering slow death, not the grand death of dramas. How to make that engaging then?

Well, partially this can be achieved by drawing an omniscient description of decay, but a purely descriptive story is rather boring as well. No, it occurs rather more interesting to describe how the last man becomes the last. The wandering of two souls, one on the verge of death, the other weighing whether to follow him into the void that expands forever outward and inward. Or perhaps the person struggles in vain to reverse the collapse? That might be the best yet.

Yes, an island floating in the void, as the ground around it breaks apart, as the plants begin to wither provides an excellent marker of time as things end. Who these people are is another matter entirely. I am not sure myself. I would be in favor of scholars and scientists, stereo typically those most capable of such feats as to hold back the flood gates of oblivion.

That is all I have for this prompt this time. But maybe, in this broken jaw bone of lost kingdoms, you have seen etched something grander. Something more beautiful. Or more dreadful. Similar topics have been discussed here and here.

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