A Tree With Nine Angles

The front and back of the Tree of Life.
A Tree with Nine Angles.
Exploratory insurgency.
*** Index. 0. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.
Introduction.
0.1 The Tree and the ten, eleven, twelve sefiroth. Keter (supernal crown, representing above-conscious will) Chochmah (the highest potential of thought) Binah (the understanding of the potential) Daat (intellect of knowledge) Chesed (sometimes referred to as Gedolah-greatness) (loving-kindness) Gevurah (sometimes referred to as Din-justice or Pachad-fear) (severity/strength) Rachamim also known as Tiphereth (mercy) Netzach (victory/eternity) Hod (glory/splendour) Yesod (foundation) Malkuth (kingdom) The Nine Angles explored within the Tree of Life. The Dreamworld a Map by HP Love Craft.
14. The Cthulian Dictionary or Cult of Cthulhu Glossary 15. The Family Tree of the Gods 16. Cthulhu Mythos celestial bodies Addendum. ***
Introduction. This is an exploration of the Tree of Life, the front and the back, in which some keys and some locks are exposed for those Others smart enough to use them wisely. Ofcourse most will still seek to be all kinds of beings and creatures to explore these places, there are safer and cleaner ways to do it. Those are the keys included in this book, we can thank Grant Morrison/Kingmob and Blue Zebra Agent for exposing himself to these dangers and sharing them with us. The Blue Zebra Agent had already prepared the notes for this book but could not finish it and lef this library of unfinished books to his cabal; The Order of the Blue crystal. (.:O.:B.:C) Agents have been imploring the .:O.:B.:C to publish these secret notes of the Blue Zebra Agent because they could save the sanity and help advance more agents to Other hood. That which was the great dream of the BZA, to lift more agents of transformation to that high plane he raised himself to. Blue Zebra Agent, Ipsissimus (33) The head of the .:O.:B.:C ***
The Tree and the ten, eleven, twelve sefiroth.

According to Lurianic cosmology, the sefirot correspond to various levels of creation (ten sefirot in each of the Four Worlds, and four worlds within each of the larger four worlds, each containing ten sefirot, which themselves contain ten sefirot, to an infinite number of possibilities), and are emanated from the Creator for the purpose of creating the universe. The sefirot are considered revelations of the Creator's will (ratzon), and they should not be understood as ten different "gods" but as ten different ways the one God reveals his will through the Emanations. It is not God who changes but the ability to perceive God that changes. Altogether, eleven sefirot are named. However Keter and Daat are unconscious and conscious dimensions of one principle, conserving 10 forces. The names of the sefirot in descending order are:
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
Keter (supernal crown, representing above-conscious will) Chochmah (the highest potential of thought) Binah (the understanding of the potential) Daat (intellect of knowledge) Chesed (sometimes referred to as Gedolah-greatness) (loving-kindness) Gevurah (sometimes referred to as Din-justice or Pachad-fear) (severity/strength) Rachamim also known as Tiphereth (mercy) Netzach (victory/eternity) Hod (glory/splendour) Yesod (foundation) Malkuth (kingdom)

The Four Worlds (Hebrew: Olamot/Olamos, singular: Olam ekam ot egats roirp a htiw detnuoc semitemos ,) Five Worlds, are the comprehensive categories of spiritual realms in Kabbalah in the descending chain of Existence. The concept of "Worlds" denotes the emanation of creative lifeforce from the Ein Sof Divine Infinite, through progressive, innumerable tzimtzumim(concealments/veilings/condensations). As such, God is described as the "Most Hidden of All Hidden", and Olam is etymologically related to, and sometimes spelled as, : nuoN( Helem meaning "concealment"). While these dimmings form innumerable differentiated spiritual levels, each a microcosmic realm, nonetheless, through the mediation of the sephirot (Divine attributes), five comprehensive Worlds emerge. "Higher" realms metaphorically denote greater revelation of the Divine Ohr light, in more open proximity to their source, "Lower" realms are capable of receiving only lesser creative flow. The Worlds are garments of the Ein Sof, and Hasidic thoughtinterprets their reality as only apparent to Creation, while "from above" the Divine Infinite fills all equally. As particular sephirot dominate in each realm, so the primordial fifth World, Adam Kadmon, is often excluded for its transcendence, and the four subsequent Worlds are usually referred to. Their names are read out from Isaiah 43:7, "Every one that is called by My name (Atzilus "Emanation/Close"), and for My glory I have created (Beriah "Creation"), I have formed (Yetzirah"Formation"), even I have made (Asiyah "Action"). Below Asiyah, the lowest spiritual World, is Asiyah-Gashmi ("Physical Asiyah"), our Physical Universe, which enclothes its last two sephirot emanations (Yesod and Malchut). Collectively, the Four Worlds are also referred to as ABiYA, after their initial letters.
The Worlds are formed by the Ohr Mimalei Kol Olmin, the Divine creative light that "Fills all Worlds" immanently, according to their particular spiritual capacity to receive. The 10 sephirot attributes and 12 basic partzufim personas shine in each world, as well as more specific Divine manifestations. In Lurianic Kabbalah, the partzufim dynamically interact with each other, and sublime levels are enclothed within lower existences, as their concealed soul. Nonetheless, in each World, particular sephirot and partzufim predominate. The five Worlds in descending order: 1. Adam Kadmon ( ), meaning Primordial Man. This anthropomorphic metaphor denotes the Yosher (Upright) configuration of the sephirot. Kadmon signifies "primary of all primaries", the first pristine emanation, still united with the Ein Sof. Also called the realm of Keter Elyon (Supernal Crown of Will), "the lucid and luminous light" (Tzachtzachot), "the pure lucid sephirot which are concealed and hidden" in potential. As Keter is elevated above the sephirot, so Adam Kadmon is supreme above the Worlds, and generally only Four Worlds are referred to. Atziluth ( ,) meaning World of Emanation, also "Close." On this level the light of the Ein Sof (Infinite Divine "without end") radiates and is still united with its source. This supernal revelation therefore precludes the souls and Divine emanations in Atzilus from sensing their own existence. In Atzilus the 10 sephirot emerge in revelation, with Chochma (Wisdom) dominating, all is nullification of essence (Bittul HaEtzem) to Divinity, not considered created and separate. The last sephirah Malchut (Kingdom) is the "Divine speech" of Genesis 1, through which lower Worlds are substained. Beri'ah ( or alternatively ,) meaning World of Creation. On this level is the first concept of creatio ex nihilo (Yesh miAyin), however without yet shape or form, as the creations of Beriah sense their own existence, though in nullification of being (Bittul HaMetzius) to Divinity. Beriah is the realm of the "Divine Throne", denoting the sephirot configuration of Atzilus descending into Beriah like a King on a Throne. The sephirah Binah (Understanding) predominates, Divine intellect. Also called the "Higher Garden of Eden". The Highest Ranking Angels are in Beriah. Yetzirah ( ,) meaning World of Formation. On this level the created being assumes shape and form. The emotional sephirot Chesed to Yesodpredominate, the souls and angels of Yetzirah worship through Divine emotion and striving, as they sense their distance from the Understanding of Beriah. This ascent and descent channels the Divine vitality down through the
2.
3.
4.

Worlds, furthering the Divine purpose. Therefore, in Yetzirah are the main angels, such as Seraphim, denoting their burning consummation in Divine emotion. Also called the "Lower Garden of Eden". 5. Assiah ( ,) meaning World of Action. On this level the creation is complete, differentiated and particular, due to the concealment and diminution of the Divine vitality. However, it is still on a spiritual level. The angels of Asiyah function on the active level, as the sephirah Malchut (fulfilment in Kingship) predominates. Below spiritual Asiyah is Asiyah Gashmi ("Physical Asiyah"), the final, lowest realm of existence, our material Universe with all its creations. The last two sephirot of Asiyah channel the lifeforce into Physical Asiyah.
These four worlds are spiritual, Heavenly realms in a descending chain, although the lowest world of Assiah has both a spiritual and a physical aspect. The physical level of Assiah is our physical finite realm, including the cosmological Universe studied by Science. Consequently, as Kabbalah is a metaphysical study, its reference to Ohr ("light") is a metaphor for Divine emanation, and the terms "higher" and "lower" are metaphors for closer and further from Divine consciousness and revelation. The 16th-century systemisation of Kabbalah by Moshe Cordovero brought the preceding interpretations and schools into their first complete rational synthesis. Subsequent doctrines of Kabbalah from Isaac Luria, describe an initial Tzimtzum (withdrawal of the universal Divine consciousness that preceded Creation) to "allow room" for created beings on lower levels of consciousness. Lower levels of consciousness require the self-perception of independent existence, by the created beings on each level, to prevent their loss of identity before the magnificence of God. This illusion increases with more force in each subsequent descending realm. The number of graduations between the Infinite and the finite, is likewise infinite, and arises from innumerable, progressively strong concealments of the Divine light. Nonetheless, the four worlds represent fundamental categories of Divine consciousness from each other, which delineates their four descriptions. Consequently, each world also psychologically represents a spiritual rung of ascent in human consciousness, as it approaches the Divine. Kabbalah distinguishes between two types of Divine light that emanate through the 10 Sephirot (Divine emanations) from the Infinite (Ein Sof), to create or affect reality. The continual flow of an immanent lower light ("Mimalei Kol Olmin"), the light that "fills all worlds" is the creating force in each descending world that itself continually brings into being from nothing, everything in that level of existence. It is this light that undergoes the concealments and contractions as it descends downward to create the next level, and adapts itself to the capacity of each created being on each level. A transcendent higher light ("Sovev Kol Olmin"), the light that "surrounds all worlds" would be the manifestation on a particular level of a higher light above the capacity of that realm to contain. This is ultimately rooted in the infinite light ("Ohr Ein Sof") that preceded Creation, the Tzimtzum and the Sephirot, rather than the source of the immanent light in the "Kav" (first emanation of creation after the Tzimtzum), in the teachings of Isaac Luria. Consequently, all the worlds are dependent for their continual existence on the flow of Divinity they constantly receive from the Divine Will to create them. Creation is continuous. The faculty of Divine Will is represented in the Sephirot (10 Divine emanations) by the first, supra-conscious Sephirah of "Keter"-Crown, that transcends the lower 9 Sephirot of conscious intellect and emotion. Once the Divine Will is manifest, then it actualises Creation through Divine Intellect, and "subsequently" Divine Emotion, until it results in action. The reference to temporal cause and effect is itself a metaphor. The psychology of man also reflects the "Divine psychology" of the Sephirot, as "Man is created in the image of God" (Genesis 1:27). In man the activation of willpower through intellect and emotion until deed, requires time and subsequent cause and effect. In the Divine Sephirot and their activation of Creation, this does not apply, as limitations only apply to Creation. The Book of Job states that "from my flesh I see God". In Kabbalah and Hasidism this is understood to refer to the correspondence between the "Divine psychology" of the Four Worlds and the Sephirot, with human psychology and the Sephirot in the soul of man. From understanding the Kabbalistic description of the human soul, we can grasp the meaning of the Divine scheme. Ultimately, this is seen as the reason that God chose to emanate His Divinity through the 10 Sephirot, and chose to create the corresponding chain of four Worlds (called the "Seder hishtalshelus"-"order of development"). He could have chosen to bridge the infinite gap between the Ein Sof and our World by a leap of Divine decree. Instead the Sephirot and Four Worlds allow man to understand Divinity through Divine manifestation, by understanding himself. The verse in Genesis of this correspondence also describes the feminine half of Creation: (Genesis 1:27) "So God created man in His own image, in the image of God created He him, male and female created He them". Consequently some of the Sephirot are feminine, and the Shechina (immanent Divine presence) is seen as feminine. It is the intimate relationship between the Divine sceme of four World and man, that allows man's ascent more easily to Divine consciousness
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1. Keter (supernal crown, representing above-conscious will)

Yuggoth (or Iukkoth) is a fictional planet in the Cthulhu Mythos. H. P. Lovecraft himself said that Yuggoth is the then newlydiscovered planet Pluto. However, other writers claim that it is actually an enormous, trans-Neptunian world that orbits perpendicular to the ecliptic of the solar system. Yuggoth... is a strange dark orb at the very rim of our solar system... There are mighty cities on Yuggothgreat tiers of terraced towers built of black stone... The sun shines there no brighter than a star, but the beings need no light. They have other subtler senses, and put no windows in their great houses and temples... The black rivers of pitch that flow under those mysterious cyclopean bridgesthings built by some elder race extinct and forgotten before the beings came to Yuggoth from the ultimate voidsought to be enough to make any man a Dante or Poe if he can keep sane long enough to tell what he has seen... H. P. Lovecraft, "The Whisperer in Darkness" Yuggoth is the planet where the extraterrestrial Mi-go have established a colony. The Mi-go's city sits at the edge of a pit wherein dwells an ancient and horrifying entity feared by the Mi-Go. They periodically abandon the city on those occasions when it rises from the pit and can be seen directly. The being Cxaxukluth, along with Tsathoggua and his parents, migrated to Yuggoth from Xoth. A dysfunctional family in their own right, Cxaxukluth's progeny abandoned their patriarch and sought refuge deep in the bowels of Yuggoth, owing to Cxaxukluth's cannibalistic tendencies. Soon thereafter they fled Yuggoth, though Cxaxukluth still dwells there to this day. On Yuggoth, the Mi-go mine a strange metal known as tok'l. Tok'l-metal is used in the manufacture of the Mi-go's notorious "brain cylinders", but it also has other ritual uses as well. Yuggoth itself hung directly overhead, obscenely bloated and oblate, its surface filling the heavens... and all the time pulsing, pulsing, pulsing like an atrocious heart, throbbing, throbbing. Richard A. Lupoff, "The Discovery of the Ghooric ZoneMarch 15, 2337" In Richard A. Lupoff's short story "The Discovery of the Ghooric ZoneMarch 15, 2337", Yuggoth is hinted to be the hypothetical Planet X. Lupoff's Yuggoth is a colossal, crimson planet, twice as massive as Jupiter. It is flattened at the poles and pulses eerily, no doubt because of its tremendous rotational speedperhaps as fast as 80,000 kilometers per hour. It has numerous moons, including Nithon and Zaman, and the twin-moons Thog and Thok. * Other references
Yuggoth is briefly mentioned in John Bellairs's The Face in the Frost as part of a wizard's model of the cosmos. It is described as "the terrible black planet...which rolls aimlessly in the stupefying darkness."
A being or "living concept" which is dubbed a Yuggoth by the narrator possesses Allan Quatermain's abandoned mortal shell in the illustrated story Allan and the Sundered Veil in the first graphic novel volume of The League of Extraordinary Gentlemen. The Yuggoth is described as being known as "a creature, a planet, and an idea" and is an abstract alter-dimensional entity which is entering through the hole in the fabric of time that the story revolves around.
An entity referred to as both Nyarlathotep and "Yuggoth's emissary" appears towards the end of The League of Extraordinary Gentlemen: Black Dossier. The being is involved in diplomacy in the Blazing World.
Yuggoth is the name of a deletion program in Digimon: Tamers (3rd Season). Yuggoth is also a theme which is discussed in detail in Kenneth Grant's Typhonian Trilogy.
The H. P. Lovecraft story "The Whisperer in Darkness" is the main focal point in the Electric Wizard song "Weird Tales: Electric Frost/Golgatha/Altar of Melektaus." This can be seen in lyrics such as "From ancient Yuggoth, black rays emit, Evils narcotic cyclopean pits."
Jack Chalker's novel Horrors of the Dancing Gods references "Far Yuggoth" as the continent of the sub-Earth world of Husaquahr from which all evil things come. Far Yuggoth can only be reached by taking a ship called the Hovecraft.
In Brian Keene's novel A Gathering of Crows, Levi traps the minions of Meeble by tricking them into the Labyrinth, a corridor between planes of reality. When his adversaries close in to seemingly finish him, he informs that they are powerless. As they are now on Yuggoth, which is the planet ruled by Behemoth, a more powerful member of the Thirteen...
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2. Chochmah (the highest potential of thought)
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3. Binah (the understanding of the potential) Aroueris, the bishop; FOURTH ANGLE: The Ram of the Sun (Shub-Niggurath/Amon) is a manifestation of the "awakened" human psyche as energized by the Messenger. It is thus that "Satan" is known to humanity: a personalized reflection, as it were, of the results of the Messenger's Working. Satan's other name (Lucifer) is that of light and enlightenment, hence the "brilliance" of the Nine Angles. With the number four we have geometrically a three-dimensional displacement in space. Hence existence of matter and energy becomes possible. Hence time becomes possible, as the measurement of change in matter and energy. Shub-Niggurath, often associated with the phrase The Black Goat of the Woods with a Thousand Young, is a deity in the Cthulhu Mythos of H. P. Lovecraft. The creature is sometimes referred to as The Black Ram of The Forest with a Thousand Ewes, lending a male gender to the entity that is often thought of as female. Shub-Niggurath is first mentioned in Lovecraft's revision story "The Last Test" (1928); she is never actually described in Lovecraft's fiction, but is frequently mentioned or called upon in incantations. Most of her development as a literary figure was carried out by other Mythos authors, including August Derleth, Robert Bloch and Ramsey Campbell. August Derleth classified Shub-Niggurath as a Great Old One, but the Call of Cthulhu role-playing game classifies her as an Outer God. The CthulhuTech role-playing game, in turn, has returned to Derleth's classification of Shub-Niggurath as a Great Old One. Kokopelli is a fertility deity, usually depicted as a humpbacked flute player (often with a huge phallus and feathers or antenna-like protrusions on his head), who has been venerated by some Native American cultures in the Southwestern United States. Like most fertility deities, Kokopelli presides over both childbirth and agriculture. He is also a trickster god and represents the spirit of music. The Fourth Angle represents Awakening. The mage must prepare his mind before understanding the situation, setting goals, and directing forces. This evocation is a preliminary measure to restore balance. A certain amount of mindfulness is needed before acting. A magician should recite these words in order to be aware of hidden choices. Useful for becoming the void, Awakening. The Fourth Angle: Emerald Consciousness Eeyash Babilya Sorenzo kara ka Zaj gasht Elubrae aktah Zulutan Bahgrog Ia Ia Ikthbae Izratan heb neth nath ra. Cohm tae Konza beretoth Jushjta Gigipahe torezodul tsa Pilada calaa Cthulhu gebl wgahnagl Eeyash Aa-shanta

Shub-Niggurath's appearances in Lovecraft's main body of fiction do not provide much detail about his conception of the entity. Her first mention under Lovecraft's byline was in The Dunwich Horror (1928), where a quote from the Necronomicondiscussing the Old Ones breaks into an exclamation of "I! Shub-Niggurath!"[1] The story provides no further information about this peculiar expression. The next Lovecraft story to mention Shub-Niggurath is scarcely more informative. In "The Whisperer in Darkness" (1930), a recording of a ceremony involving human and nonhuman worshippers includes the following exchange: Ever Their praises, and abundance to the Black Goat of the Woods. I! Shub-Niggurath! I! Shub-Niggurath! The Black Goat of the Woods with a Thousand Young![2] Similarly unexplained exclamations occur in "The Dreams in the Witch House" (1932) [3] and "The Thing on the Doorstep" (1933).[4] Lovecraft only provided specific information about Shub-Niggurath in his revision tales, stories published under the names of clients for whom he ghost-wrote. As Price points out, For these clients he constructed a parallel myth-cycle to his own, a separate group of Great Old Ones, including Yig, Ghatanothoa, RhanTegoth, "the evil twins Nug and Yeb"and Shub-Niggurath. While some of these revision stories just repeat the familiar exclamations, [5] others provide new elements of lore. In "The Last Test" (1927), the first mention of Shub-Niggurath seems to connect her to Nug and Yeb: "I talked in Yemen with an old man who had come back from the Crimson Deserthe had seen Irem, the City of Pillars, and had worshipped at the underground shrines of Nug and YebI! Shub-Niggurath!"[6] The revision story "The Mound", which describes the discovery of an underground realm called K'nyan by a Spanish conquistador, reports that a temple of Tsathoggua there "had been turned into a shrine of Shub-Niggurath, the AllMother and wife of the Not-to-Be-Named-One. This deity was a kind of sophisticated Astarte, and her worship struck the pious Catholic as supremely obnoxious."[7] The reference to "Astarte", the consort of Baal in Semitic mythology, ties Shub-Niggurath to the related fertility goddess Cybele, the Magna Mater mentioned in Lovecraft's "The Rats in the Walls", and implies that the "great mother worshipped by the hereditary cult of Exham Priory" in that story "had to be none other than Shub-Niggurath."[8] The Not-to-Be-NamedOne, not being named, is difficult to identify; a similar phrase, translated into Latin as the Magnum Innominandum, appears in a list in "The Whisperer in Darkness"[9] and was included in a scrap of incantation that Lovecraft wrote for Robert Bloch's "The Shambler from the Stars".[10] August Derleth identifies this mysterious entity with Hastur [11] (though Hastur appears in the same "Whisperer in Darkness" list with the Magnum Innominandum), while Robert M. Price equates him with Yog-Sothoth--though he also suggests that Shub-Niggurath's mate is implicitly the snake god Yig.[12] Finally, in "Out of the Aeons", a revision tale set in part on the lost continent of Mu, Lovecraft describes the character T'yog as the "High Priest of Shub-Niggurath and guardian of the copper temple of the Goat with a Thousand Young". In the story, T'yog surprisingly maintains that "the gods friendly to man could be arrayed against the hostile gods, and...that Shub-Niggurath, Nug, and Yeb, as well as Yig the Serpent-god, were ready to take sides with man" against the more malevolent Ghanatothoa. Shub-Niggurath is called "the Mother Goddess", and reference is made to "her sons", presumably Nug and Yeb.[13] Other evidence of Lovecraft's conception of Shub-Niggurath can be found in his letters. For example, in a letter to Willis Conover, Lovecraft described her as an "evil cloud-like entity".[14] Although Shub-Niggurath is often associated with the epithet "The Black Goat of the Woods with a Thousand Young", it is possible that this Black Goat is a separate entity. Rodolfo Ferraresi, in his essay "The Question of Shub-Niggurath", says that Lovecraft himself separated the two in his writings, such as in "Out of the Aeons" (1935) in which a distinction is made between Shub-Niggurath and the Black Goat the goat is the figurehead through which Shub-Niggurath is worshipped. In apparent contrast to Shub-Niggurath, the Black Goat is sometimes depicted as a male, most notably in the rite performed in "The Whisperer in Darkness" (1931) in which the Black Goat is called the "Lord of the Woods". The Black Goat may be the personification of Pan, since Lovecraft was influenced by Arthur Machen's The Great God Pan (1890), a story that inspired Lovecraft's "The Dunwich Horror" (1929). In this incarnation, the Black Goat may representSatan in the form of the satyr, a half-man, half-goat. In folklore, the satyr symbolized a man with excessive sexual appetites. The Black Goat may otherwise be a male, earthly form of Shub-Niggurath an incarnation she assumes to copulate with her worshipers. [15]
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Notes. 1. 2. 3. 4. 5. ^ H. P. Lovecraft, "The Dunwich Horror", The Dunwich Horror and Others, p. 170. ^ H. P. Lovecraft, "The Whisperer in Darkness", The Dunwich Horror and Others, p. 226. ^ H. P. Lovecraft, "The Dreams in the Witch House", At the Mountains of Madness, p. 293. ^ H. P. Lovecraft, "The Thing on the Doorstep", The Dunwich Horror and Others, pp. 287, 296. ^ H. P. Lovecraft writing as Zealia Bisop, "Medusa's Coil", The Horror in the Museum, pp. 189-190; H. P. Lovecraft writing as Hazel Heald, "The Man of Stone", The Horror in the Museum, pp. 225, 232; H. P. Lovecraft writing as Hazel Heald, "The Horror in the Museum", The Horror in the Museum, pp. 225, 232; H. P. Lovecraft writing as William Lumley, "The Diary of Alonzo Typer", The Horror in the Museum, p. 321. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. ^ H. P. Lovecraft writing as Adolphe de Castro, "The Last Test", The Horror in the Museum, p. 47. ^ H. P. Lovecraft writing as Zealia Bishop, "The Mound", The Horror in the Museum, pp. 144-145. ^ Price, Shub-Niggurath Cycle, p. xiv. ^ Lovecraft, "The Whisperer in Darkness", p. 223. ^ Robert Bloch, "The Shambler from the Stars", Mysteries of the Worm, p. 31. ^ August Derleth, "The Return of Hastur", The Hastur Cycle, pp. 255-256. ^ Price, p. xiii. ^ H. P. Lovecraft writing as Hazel Heald, "Out of the Aeons," The Horror in the Museum, pp. 273-274; Price, p. xiii. ^ Cited in Price, p. xv. ^ Ferraresi, "The Question of Shub-Niggurath", Crypt of Cthulhu #35, pp. 178, 22.
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Kokopelli.
Kokopelli has been worshipped since at least the time of the Ancient Pueblo Peoples. The first known images of him appear on Hohokam pottery dated to sometime between AD 750 and AD 850. Kokopelli may have originally been a representation of ancient Aztec traders, known as pochtecas, who may have traveled to this region from northern Mesoamerica. These traders brought their goods in sacks slung across their backs and this sack may have evolved into Kokopelli's familiar hump; some tribes consider Kokopelli to have been a trader. These men may also have used flutes to announce themselves as friendly as they approached a settlement. This origin is still in doubt, however, since the first known images of Kokopelli predate the major era of MesoamericanAnasazi trade by several hundred years. Another theory is that Kokopelli is actually an anthropomorphic insect. Many of the earliest depictions of Kokopelli make him very insect-like in appearance. The name "Kokopelli" may be a combination of "Koko", another Hopi and Zuni deity, and "pelli",[2] the Hopi and Zuni word for the desert robber fly, an insect with a prominent proboscis and a rounded back, which is also noted for its zealous sexual proclivities. A more recent etymology is that Kokopelli means literally "kachina hump". Because the Hopi were the tribe from whom the Spanish explorers first learned of the god, their name is the one most commonly used. Kokopelli is one of the most easily recognized figures found in the petroglyphs and pictographs of the Southwest.[3] The earliest known petroglyph of the figure dates to about A.D. 1000.[3] The Spanish missionaries in the area convinced the Hopi craftsmen to omit the phallus from their representations of the figure. As with most kachina dolls, the Hopi Kokopelli was often represented by a human dancer. Most recently, Kokopelli is one of several kachina dolls sold to tourists.
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A similar humpbacked figure is found in artifacts of the Mississippian culture of the U.S. southeast.[5] Between approximately 1200 to 1400 AD, water vessels were crafted in the shape of a humpbacked woman. These forms may represent a cultural heroine or founding ancestor, and may also reflect concepts related to the life-giving blessings of water and fertility. 1. ^ Young, John V. (1990). Kokopelli: Casanova of the Cliff Dwellers; The hunchbacked flute player. Filter Press. pp. 18. ISBN 9780865410268. 2. 3. 4. 5. ^ a b c "Kokopelli Legends & Lore". KokOasis. Archived from the original on 2003-09-09. Retrieved 2008-05-31. ^ a b c "Kokopelli Legends & Lore". Glenn Welker. Retrieved 2008-05-31. ^ Leo W. Banks. Tucson Weekly 1999. "Cuckoo for Kokopelli". ^ "MISSISSIPPIAN CULTURES FROM ELSEWHERE". National Park Service (US Interior Dept.). Retrieved 2008-05-31.
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4. Daat (intellect of knowledge) Osiris, represented by the king; FIRST ANGLE: Unity. The concept of the Universe as the totality of existence. Note that this does not admit to monotheism (except in the sense of Deism), because there is no room for conceptual distance between a God and a worshipper. The "laughing one" is Azathoth, who is "blind" and an "idiot" because in a condition of perfect unity there is naught else to see, not any knowledge of anything else possible. [Understand, of course, that I was taking H.P. Lovecraft's gods rather beyond his story-telling version of them. I don't in the least represent these as Lovecraft's own ideas, although I rather think that he would not have found fault with such elaborations.] In geometry a singularity identifies a locus only; there is no extension in any direction. Even the locus is "both there and not", since it has no dimensions at all. Hence there are an infinite number of loci, for example on a one-inch-long line: an interesting mathemagical paradox.
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The First Angle represents exile from all the things one knew. As a Cthulhu Cultist comes to this elder wisdom, he realizes that almost everything he knew before this point is a lie. Only by exiling himself from his former paradigm can he begin the transformation. This Angle can be utilized any time a black magician wants to leave something in his life. This could be a disappointing time period, unfulfilling relationship, or annoying career. Reciting these words in the ritual chamber will make the 'leaving behind' easier and more fruitful. The First Angle: Magenta Fire Es Gorah-toth Meek aye Gath rinkh Astorhath. Dorate Blask ebth toh eskabnae reerideth Uoon kalool Piamoel zodiredo Saitan Ia Ia Cthulhu Sorenzo Iagga The first recorded mention of Azathoth was in a note Lovecraft wrote to himself in 1919 that read simply, "AZATHOTHhideous name". Mythos editor Robert M. Price argues that Lovecraft could have combined the biblical names Anathoth(Jeremiah's home town) and Azazel (a desert demon to which the scapegoat was sacrificedmentioned by Lovecraft in "The Dunwich Horror"[1]). Price also points to the alchemical term "Azoth", which was used in the title of a book by Arthur Edward Waite, the model for the wizard Ephraim Waite in Lovecraft's "The Thing on the Doorstep".[2] Another note Lovecraft made to himself later in 1919 refers to an idea for a story: "A terrible pilgrimage to seek the nighted throne of the far daemon-sultan Azathoth."[3] In a letter to Frank Belknap Long, Lovecraft ties this plot germ to Vathek, a novel by William Beckford about a supernatural caliph.[4] Lovecraft's attempts to work this idea into a novel floundered (a 500-word fragment survives, first published under the title "Azathoth"[5] in the journal Leaves in 1938),[6] although Lovecraftian scholar Will Murray suggests that Lovecraft recycled the idea into his Dream Cycle novella The Dream-Quest of Unknown Kadath, written in 1926.[7] Price sees another inspiration for Azathoth in Lord Dunsany's Mana-Yood-Sushai , from The Gods of Pegana, a creator deity "who made the gods and thereafter rested." In Dunsany's conception, MANA-YOOD-SUSHAI sleeps eternally, lulled by the music of a lesser deity who must drum forever, "for if he cease for an instant then MANA-YOOD-SUSHAI will start awake, and there will be worlds nor gods no more." This oblivious creator god accompanied by supernatural musicians is a clear prototype for Azathoth, Price argues.[8] Aside from the title of the novel fragment, "The Dream-Quest of Unknown Kadath" was the first fiction by Lovecraft to mention Azathoth: [O]utside the ordered universe [is] that amorphous blight of nethermost confusion which blasphemes and bubbles at the center of all infinitythe boundless daemon sultan Azathoth, whose name no lips dare speak aloud, and who gnaws hungrily in inconceivable, unlighted chambers beyond time and space amidst the muffled, maddening beating of vile drums and the thin monotonous whine of accursed flutes.[9] Lovecraft referred to Azathoth again in "The Whisperer in Darkness" (1931), where the narrator relates that he "started with loathing when told of the monstrous nuclear chaos beyond angled space which the Necronomicon had mercifully cloaked under the name of Azathoth."[10] Here "nuclear" most likely refers to Azathoth's central location at the nucleus of the cosmos and not to nuclear energy, which did not truly come of age until after Lovecraft's death. In "The Dreams in the Witch House" (1932), the protagonist Walter Gilman dreams that he is told by the witch Keziah Mason that "He must meet the Black Man, and go with them all to the throne of Azathoth at the centre of ultimate Chaos.... He must sign in his own blood the book of Azathoth and take a new secret name.... What kept him from going with her...to the throne of Chaos where the thin flutes pipe mindlessly was the fact that he had seen the name 'Azathoth' in the Necronomicon, and knew it stood for a primal horror too horrible for description."[11] Gilman wakes from another dream remembering "the thin, monotonous piping of an unseen flute", and decides that "he had picked up that last conception from what he had read in the Necronomicon about the mindless entity Azathoth, which rules all time and space from a curiously environed black throne at the centre of Chaos." [12] He later fears finding himself "in the spiral black vortices of that ultimate void of Chaos wherein reigns the mindless daemon-sultan Azathoth".[13] The poet Edward Pickman Derby, the protagonist of Lovecraft's "The Thing on the Doorstep", is a poet whose collection of "nightmare lyrics" is called Azathoth and Other Horrors.[14] The last major reference in Lovecraft's fiction to Azathoth was in 1935's "The Haunter of the Dark", which tells
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of "the ancient legends of Ultimate Chaos, at whose center sprawls the blind idiot god Azathoth, Lord of All Things, encircled by his flopping horde of mindless and amorphous dancers, and lulled by the thin monotonous piping of a demonic flute held in nameless paws."[15] In 1995, Chaosium published The Azathoth Cycle, a Cthulhu Mythos anthology focusing on works referring to or inspired by the entity Azathoth. Edited by Lovecraft scholar Robert M. Price, the book includes an introduction by Price tracing the roots and development of the Blind Idiot God. The contents include:

Notes 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.
"Azathoth" by Edward Pickman Derby "Azathoth in Arkham" by Peter Cannon "The Revenge of Azathoth" by Peter Cannon "The Pit of the Shoggoths" by Stephen M. Rainey "Hydra" by Henry Kuttner "The Madness Out of Time" by Lin Carter "The Insects from Shaggai" by Ramsey Campbell "The Sect of the Idiot" by Thomas Ligotti "The Throne of Achamoth" by Richard L. Tierney & Robert M. Price "The Last Night of Earth" by Gary Myers "The Daemon-Sultan" by Donald R. Burleson "Idiot Savant" by C. J. Henderson "The Space of Madness" by Stephen Studach "The Nameless Tower" by John Glasby "The Plague Jar" by Allen Mackey "The Old Ones Promise of Eternal Life" by Robert M. Price
^ H. P. Lovecraft, "The Dunwich Horror", The Dunwich Horror and Others, p. 158. ^ Robert M. Price, The Azathoth Cycle, pp. v-vi. ^ cited in Price, The Azathoth Cycle, p. vi. ^ Letter to Frank Belknap Long, June 9, 1922; cited in Price, The Azathoth Cycle, p. vi. ^ "H. P. Lovecraft's original fragment, 'Azathoth'" ^ "Publication History for H. P. Lovecraft's 'Azathoth'", The H. P. Lovecraft Archive. ^ Price, The Azathoth Cycle, p. vii. ^ Price, The Azathoth Cycle, pp. viii-ix. ^ H. P. Lovecraft, The Dream-Quest of Unknown Kadath, in At The Mountains of Madness, p. 308. ^ H. P. Lovecraft, "The Whisperer in Darkness", The Dunwich Horror and Others, p. 256. ^ H. P. Lovecraft, "The Dreams in the Witch House", At the Mountains of Madness, pp. 272-273. ^ Lovecraft, "The Dreams in the Witch House", p. 282. ^ Lovecraft, "The Dreams in the Witch House", p. 293. ^ H. P. Lovecraft, "The Thing on the Doorstep", The Dunwich Horror and Others, p. 277. ^ H. P. Lovecraft, "The Haunter of the Dark", The Dunwich Horror and Others, p. 110.
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5. Chesed (sometimes referred to as Gedolah-greatness) (loving-kindness)
Isis, the queen; SECOND ANGLE: Duality. The profound and necessarily total change of unity into symmetry and polarity (and its symbolic representations: Horus and Set, Yang and Yin, etc.) The "orderer of the planes and angles' is Yog- Sothoth, who is, as the shaper of energy and matter, described as the author of Earth in its matter/energy/evolutionary configuration. Note that in pure duality there is no room for judgment between the two; there is only one or the other. In duality geometry creates a single extension (a line). The Second Angle represents the struggle to know. This is the learning process, the abyss between what one is leaving behind and the place one is traveling to. This Angle can be ritualized when approaching something new. The reciting of these words will allow the mage to have a fresh and open-minded perspective; useful before tackling an unknown challenge. The Second Angle: Black Water Ith Rossadeg Goar Gogithkai casarema Vaurelar to-et pahreji Naja Isqua Taleknesh Zibza anchor Ak-behy Ak-behy Uoon kalool Durant aktah Cthulhu ishtahn Zaj-gagahmek Eeyash Yethkai Imagination called up the shocking form of fabulous Yog-Sothoth only a congeries of iridescent globes, yet stupendous in its malign suggestiveness. H. P. Lovecraft, "The Horror in the Museum" Yog-Sothoth is an Outer God and is coterminous with all time and space yet is supposedly locked outside of the universe we inhabit. Its cosmic nature is hinted at in this passage from "Through the Gates of the Silver Key" (1934) by Lovecraft and E. Hoffmann Price: It was an All-in-One and One-in-All of limitless being and self not merely a thing of one Space-Time continuum, but allied to the ultimate animating essence of existence's whole unbounded sweep the last, utter sweep which has no confines and which outreaches fancy and mathematics alike. It was perhaps that which certain secret cults of earth have whispered of as YOG-SOTHOTH, and which has been a deity under other names; that which the crustaceans of Yuggoth worship as the Beyond-One, and which the vaporous brains of the spiral nebulae know by an untranslatable Sign... Yog-Sothoth knows all and sees all. To "please" this deity could bring knowledge of many things. However, like most beings in the mythos, to see it or learn too much about it is to court disaster. Some
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authors state that the favor of the god requires a human sacrifice or eternal servitude. The in-universe essay In Rerum Supernatura in the Call of Cthulhu role-playing game offers a suggestion: Yog-Sothoth's name may be a transliteration of the Arabic phrase "Yaji AshShuthath," more properly "yaj'u ash-shudhdhdh" , meaning "The abnormal ones are coming." [1] Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again. He knows where They have trod earth's fields, and where They still tread them, and why no one can behold Them as They tread. H. P. Lovecraft, "The Dunwich Horror" Yog-Sothoth has some connection to the mysterious Old Ones mentioned in "The Dunwich Horror" (1929), but their nature, their number, and their connection to Yog-Sothoth are unknown. Nonetheless, they are probably allied to him in some way, since Wilbur Whateley, the half-human son of Yog-Sothoth, tried to summon them so that they could control Wilbur's more tainted twin and make it reproduce. In The Case of Charles Dexter Ward, its name is part of an incantation that could revive the dead: Y'AI'NG'NGAH YOG-SOTHOTH H'EE-L'GEB F'AI THRODOG UAAAH Aforgomon is an obscure avatar of Yog-Sothoth invented by Clark Ashton Smith. He was revered by many cultures past, present, and future as the God of Time because of his preternatural ability to manipulate time and space. Little is known of this being's appearance because he only reveals himself to those who have angered him. However, it is known that he is accompanied by a blinding light. He is the mortal enemy of Xexanoth. This is the name given to Yog-Sothoth in August Derleth and H. P. Lovecraft's novel The Lurker at the Threshold. In the story, Alijah Billington describes Yog-Sothoth's appearance as ...great globes of light massing toward the opening, and not alone these, but the breaking apart of the nearest globes, and the protoplasmic flesh that flowed blackly outward to join together and form that eldritch, hideous horror from outer space, that spawn of the blankness of primal time, that tentacled amorphous monster which was the lurker at the threshold, whose mask was as a congeries of iridescent globes, the noxious Yog-Sothoth, who froths as primal slime in nuclear chaos beyond the nethermost outposts of space and time! 'Umr at-Tawil (Arabic ) The [Most Ancient and] Prolonged of Life), also spelled Tawil At-U'mr or Tawil-at'Umr,[2] is described as an avatar of Yog-Sothoth in the story "Through the Gates of the Silver Key", by Lovecraft and E. Hoffman Price. In the story, he presides over the timeless halls beyond the Gate of the Silver Key and the strange, near-omnipotent Ancient Ones that dwell there. He is described as the silhouette of a man behind a strange, shimmering veil. He is one of very few apparently benign Lovecraftian Great Old Ones who does not cause insanity in those who view him. 1. ^ Petersen, Sandy and Willis, Lynn )1992(. In Rerum Supernatura, Call of Cthulhu, 5th ed., Oakland, CA: Chaosium, pp. 18992. ISBN 0-933635-86-9. 2. ^ These 'alternate' spellings are solecisms. The Arabic language definite article al only takes the assimilated form at before a word beginning in t. The form should be Tawil al Umr. For a similar error see Frank Herbert's Dar es Balat (were it proper Arabic it would be Dar el Balat) which is erroneously formed by analogy from Dar es Salaam in which the article es is assimilated to the initial /s/ of Salaam.
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6. Gevurah (sometimes referred to as Din-justice or Pachad-fear) (severity/strength) SEVENTH ANGLE: the destruction of the status of monotheism by the addition of a line/angle to the hex. The legacy of the First Beast of Revelation and his sevenfold Seal and Star of Babalon (A.'.A.'.). The forces of the AEon of Horus overcoming those of the AEon of Osiris. Yet the only thing that can be said of seven is that it is an effective destroyer of six. It has no creative properties of its own; it has neither the strength of symmetry nor the magical powers of its asymmetrical predecessors (1,3,5). Proponents of six-isms instinctively fear seven: They warn about such things as the seventh son of a seventh son, of the Seven Towers of Satan in Yezidi legend, of the Seventh Seal, of the Jewel of the Seven Stars. Seven is thus a harbinger of doom to six: a shadowing-forth of the Apocalypse to come. Geometrically and numerically, like the AEon of Horus, seven has an "identity crisis". Additions or multiplications or powers of seven yield all sorts of random values and relationships.
The Seventh Angle is for acquiring sexual gratification. The magician should speak this evocation in order to acquire a satisfactory partner for intimate relations and lustful practices. Many are the wizards who have sought their scarlet woman and realized their darkest dreams; or, in the Cthulhu Cultists parlance, an emerald woman. Sex can open unique doorways of perception. There is strength in such indulgence. The Seventh Angle: Aquamarine Water Uoon kalool irik hast Inerfo Tahrone izzibanatee kas Cthulhu rai hatquroon blaht za Q orhaneznet gorotep Pleshten ziroob tai est Inanzorbae Uoon kalool irik hast Kafjith Yuggoth hatheg
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7. Rachamim also known as Tiphereth (mercy) SIXTH ANGLE: If Crowley considered his Tenth AEther to be accursed, then this would be the accursed (or should I say "hexed"!) of the Nine Angles. It is the hexagon and hexagram (also the seal of the Jews, authors and proponents of the world's most nihilistic and selfhating monotheism.) The hexagon corrupts the Golden Rectangle; it adds an angle and a line to the pentagram and pentagon, thus destroying them. Six is symmetry obese and unnecessary (two and four are quite adequate for the principle). The seeds of the destruction of the hexagonal forms are carried within them, however, for they necessarily embrace two trapezoids (the four) and the pentagrams defined by those trapezoids (the five); hence 4+5 (the nine).
The Sixth Angle is for helping one's friends and family. When aid must be given to those close to the magician, recite these words in the ritual chamber. The Dark Gods will look favorably on the magician's friends and family. Everyone who wishes the mage success will in turn be successful. Being simultaneously evil and altruistic is not impossible. On the contrary, the greatest wickedness can be carried out when striving for a higher purpose. The Sixth Angle: Vile Yellow Fire Forkateen hasht nab gastinsta zedroab septh Gorotep kara ka Cthulhu noco mada qumla Torinuta est Ill-katheen kriet bestya hai qoreen Sooprune sta Verinsta esbrekshta zad miranoit Imprek iadanamor mas itoon Igrog xura hohn-tep Yaddith
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8. Netzach (victory/eternity)
EIGHTH ANGLE: The temple containing the trihedral angles is a truncated pyramid: the power of the trapezoid perfectly manifest in a golden Section-based three-dimensional structure. Thus its architects are the Masters of the Realm (the all-embracing term for the IV+ in the original Church of Satan): the Sorcerers who beam from their towers the Powers of Darkness to rebuild the world corrupted by six and shattered by the seven, and their seal is the Seal of the Order of the Trapezoid (seal of the Priesthood of the original Church of Satan). The Eighth Angle is for completing a magician's evolution. The Old Ones advanced human evolution to a certain degree; however, man remains unfinished. This Angle will allow the mage to become more (or less) than human. He will become sufficiently alien and demonic in nature enough to bear the Old Ones seal. The mage who hath proved himself shall become like the Old Ones themselves! The Eighth Angle: Violet Air Umela Zortae Umth Orak Ishbae tahn beshtor nathsoon Cthulhu ebtansorat plie eskabnae reerideth Pereda zorat corempta tai est hapthee noch Cohm tae pilada mada forada Zenik thasa aeh Plirakthorna tzaht hesht Necronomicon fhtagn INGANOK
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9. Hod (glory/splendour)
Horus, the knight; THIRD ANGLE: This is a very critical stage, because the existence of a third element introduces the notion of choice between the two opposites, either absolutely or relatively (Aristotelian system) or of choice to aspire or not to aspire to universal perfections (= Platonic/Pythagorean system). This is Nyarlathotep, otherwise Set, otherwise Lucifer/Satan, otherwise Prometheus, otherwise Thoth, who has created the power of perspective and the independent psyche of judgment. Here "knowledge" becomes possible. In geometry we now have the triangle, which is the most rigid of figures and also creates a two-dimensional plane. Note that, per the Book of Coming Forth by Night, the Horus/Set relationship actually fits into a threefold matrix rather than a twofold one. Set is an independent Intelligence with perspective upon the non-conscious objective universe on one hand and the chaos of the anti-objective universe (HarWer) on the other. The simple Horus/Set duality results from primitive Aristotelian thinking (so kick me, Tharrud Terclis!). Nyarlathotep, also known as the Crawling Chaos, is a malign deity in the Cthulhu Mythos fictional universe created by H. P. Lovecraft. First appearing in Lovecraft's 1920 prose poem of the same name, he was later mentioned in other works by Lovecraft and by other writers and in the tabletop roleplaying games making use of the Cthulhu Mythos. Later writers describe him as one of the Outer Gods. The Third Angle represents the destruction of obstacles. Anything that is in the magician's way can be dealt with. Obstacles are a regular occurrence, but they need not divert one's true path. Simply recite these words in the ritual chamber to destroy current obstacles and prevent new ones from appearing. In this case, an obstacle could be anything from petty bureaucracy to a human being. A magician must tread the road he was meant to walk, and it is his destiny to clear the way. The Third Angle: Orange Air Gigipahe Ill-katheen Draegor Iksss Azathoth elubrae Nekpa zazigor Ipshae jezir mamonah pahreji zodiredo Ubathla Zaemiel kashto nazda bahl Ibtorka iyath sha Resparitee krietgth Cthulhu Phnglui manskrite ZHRO
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In his first appearance in "Nyarlathotep", he is described as a "tall, swarthy man" who resembles an ancient Egyptian pharaoh.[1] In this story he wanders the earth, seemingly gathering legions of followers, the narrator of the story among them, through his demonstrations of strange and seemingly magical instruments. These followers lose awareness of the world around them, and through the narrator's increasingly unreliable accounts the reader gets an impression of the world's collapse. Nyarlathotep subsequently appears as a major character in "The Dream Quest of Unknown Kadath" (1926/27), in which he again manifests in the form of an Egyptian Pharaoh when he confronts protagonist Randolph Carter. The twenty-first sonnet of Lovecraft's poem-cycle "Fungi from Yuggoth" (1929/30) is essentially a retelling of the original prose poem. In "The Dreams in the Witch House" (1933), Nyarlathotep appears to Walter Gilman and witch Keziah Mason (who has made a pact with the entity) in the form of "the 'Black Man' of the witch-cult," a blackskinned avatar of the Devil described bywitch hunters. Nyarlathotep is also mentioned in "The Rats in the Walls" as a faceless god in the caverns of earth's center. Finally, in "The Haunter of the Dark" (1936), the nocturnal tentacled, bat-winged monster dwelling in the steeple of the Starry Wisdom sect's church is identified as another form, or manifestation of, Nyarlathotep. Though Nyarlathotep appears as a character in only four stories and two sonnets (which is more than any other of Lovecraft's gods), his name is mentioned frequently in other works. In "The Whisperer in Darkness" Nyarlathotep's name is spoken frequently by the Mi-Go in a reverential or ritual sense, indicating that they worship or honor the entity, and in "The Shadow Out of Time" (1936), the "hideous secret of Nyarlathotep" is revealed to the protagonist during his period spent in pre-cambrian earth by Khephnes, another prisoner of the Great Race. Despite similarities in theme and name, Nyarlathotep does not feature at all in Lovecraft's story "The Crawling Chaos", (1920/21) an apocalyptic narrative written in collaboration with Winifred V. Jackson (aka Elizabeth Berkeley). The name of this deity is noted for its Egyptian suffix -hotep, which gives its name an Egyptian tone. In a 1921 letter to Reinhardt Kleiner, Lovecraft related the dream he had had described as "the most realistic and horrible [nightmare] I have experienced since the age of ten" that served as the basis for his prose poem "Nyarlathotep". In the dream, he received a letter from his friend Samuel Loveman that read: Don't fail to see Nyarlathotep if he comes to Providence. He is horrible horrible beyond anything you can imagine but wonderful. He haunts one for hours afterward. I am still shuddering at what he showed.
Lovecraft commented: I had never heard the name NYARLATHOTEP before, but seemed to understand the allusion. Nyarlathotep was a kind of itinerant showman or lecturer who held forth in public halls and aroused widespread fear and discussion with his exhibitions. These exhibitions consisted of two parts first, a horrible possibly prophetic cinema reel; and later some extraordinary experiments with scientific and electrical apparatus. As I received the letter, I seemed to recall that Nyarlathotep was already in Providence.... I seemed to remember that persons had whispered to me in awe of his horrors, and warned me not to go near him. But Loveman's dream letter decided me.... As I left the house I saw throngs of men plodding through the night, all whispering affrightedly and bound in one direction. I fell in with them, afraid yet eager to see and hear the great, the obscure, the unutterable Nyarlathotep.[2] Will Murray has speculated that this dream image of Nyarlathotep may have been inspired by the inventor Nikola Tesla, whose well-attended lectures did involve extraordinary experiments with electrical apparatus and whom some saw as a sinister figure. [3] Robert M. Price proposes that the name Nyarlathotep may have been subconsciously suggested to Lovecraft by two names from Lord Dunsany, an author he much admired. Alhireth-Hotep, a false prophet, appears in Dunsany's The Gods of Pegana and Mynarthitep, a god described as "angry" in his "The Sorrow of Search".[4] Nyarlathotep differs from the other beings in a number of ways. Most of them are exiled to stars, like Yog-Sothoth and Hastur, or sleeping and dreaming like Cthulhu; Nyarlathotep, however, is active and frequently walks the Earth in the guise of a human being, usually a tall, slim, joyous man. He has "a thousand" other forms, most of these reputed to be maddeningly horrific. Most of the Outer Gods have their own cults serving them; Nyarlathotep seems to serve these cults and take care of their affairs in their absence. Most of them use strange alien languages, while Nyarlathotep uses human languages and can be mistaken for a human being. Most importantly, while the other Outer Gods and Great Old Ones are often described as
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mindless or unfathomable, rather than truly malevolent, Nyarlathotep delights in cruelty, is deceptive and manipulative, and even cultivates followers and uses propaganda to achieve his goals. In this regard, he is probably the most human-like among them. Nyarlathotep enacts the will of the Outer Gods, and is their messenger, heart and soul; he is also a servant of Azathoth, whose wishes he immediately fulfills. Unlike the other Outer Gods, causing madness is more important and enjoyable than death and destruction to Nyarlathotep. It is suggested by some that he will destroy the human race and possibly the earth as well. [5] And it was then that Nyarlathotep came out of Egypt. Who he was, none could tell, but he was of the old native blood and looked like a Pharaoh. The fellahin knelt when they saw him, yet could not say why. He said he had risen up out of the blackness of twenty-seven centuries, and that he had heard messages from places not on this planet. Into the lands of civilisation came Nyarlathotep, swarthy, slender, and sinister, always buying strange instruments of glass and metal and combining them into instruments yet stranger. He spoke much of the sciences - of electricity and psychology - and gave exhibitions of power which sent his spectators away speechless, yet which swelled his fame to exceeding magnitude. Men advised one another to see Nyarlathotep, and shuddered. And where Nyarlathotep went, rest vanished; for the small hours were rent with the screams of a nightmare. H. P. Lovecraft, Nyarlathotep And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep. H. P. Lovecraft, Nyarlathotep It was the eldritch scurrying of those fiend-born rats, always questing for new horrors, and determined to lead me on even unto those grinning caverns of earth's centre where Nyarlathotep, the mad faceless god, howls blindly to the piping of two amorphous idiot fluteplayers. H. P. Lovecraft, The Rats in the Walls What his fate would be, he did not know; but he felt that he was held for the coming of that frightful soul and messenger of infinity's Other Gods, the crawling chaos Nyarlathotep. H. P. Lovecraft, The Dream-Quest of Unknown Kadath There was the immemorial figure of the deputy or messenger of hidden and terrible powers - the "Black Man" of the witch cult, and the "Nyarlathotep" of the Necronomicon. H. P. Lovecraft, The Dreams in the Witch House In 1996, Chaosium published The Nyarlathotep Cycle, a Cthulhu Mythos anthology focusing on works referring to or inspired by the entity Nyarlathotep. Edited by Lovecraft scholar Robert M. Price, the book includes an introduction by Price tracing the roots and development of the God of a Thousand Forms. The contents include:
"Alhireth-Hotep the Prophet" by Lord Dunsany "The Sorrow of Search" by Lord Dunsany "Nyarlathotep" by H. P. Lovecraft "The Second Coming" (poem) by William Butler Yeats "Silence Falls on Meccas Walls" )poem( by Robert E. Howard "Nyarlathotep" (poem) by H. P. Lovecraft "The Dreams in the Witch House" by H. P. Lovecraft "The Haunter of the Dark" by H. P. Lovecraft "The Dweller in Darkness" by August Derleth
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"The Titan in the Crypt" by J. G. Warner "Fane of the Black Pharaoh" by Robert Bloch "Curse of the Black Pharaoh" by Lin Carter "The Curse of Nephren-Ka" by John Cockroft "The Temple of Nephren-Ka" by Philip J. Rahman & Glenn A. Rahman "The Papyrus of Nephren-Ka" by Robert C. Culp "The Snout in the Alcove" by Gary Myers "The Contemplative Sphinx" (poem) by Richard Tierney "Ech-Pi-Els gypt" )poems( by Ann K. Schwader Nyarlathotep has many forms (some literature refers to these forms as Masks and claims that he has a thousand of them) and is thus known by different avatars. This table is organized as follows:
Name. This is the name of Nyarlathotep's form. Region. This is the geographical location where Nyarlathotep's form is active. Description. This entry describes Nyarlathotep's form. Notes. This field contains additional information. References. This field lists the sources that contain references to Nyarlathotep's form. If the source is a story, it is denoted by a two-letter codethe key to the codes is found here. If the reference is listed as rpg it means a role-playing gamewas the source, with specifics included in a footnote. If an entry appears in bold, this means that the reference introduces Nyarlathotep's form. Table-a (AD) Nyarlathotep's forms Name Region Description Notes Ahtu's cult in Africa is composed of human worshipers of no hope, driven to insanity by being ill-treated and forced into encroachments by rulers and exploiters. Self-mutilation is a sign of the Appears as a gelatinous mass Ahtu Congo extruding golden tentacles. scars from near-fatal whippings and beatings. However, New World worship more resembles voodoo rituals. He can be called by a magical, golden bracelet, which is kept separated into two halves to prevent accidental summonings. Appears as a hooved, hairless, Black England Man caucasian features. Black Egypt Appears as a The Brotherhood of the Black DQ, rpg[7] man with pitch black skin and by witch covens in this form. Nyarlathotep is worshipped DW, FG cult: all have amputations and terrible rpg,[6] UD References
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Pharaoh haughty Egyptian pharaoh wearing a brightly colored robe. Black Kenya Wind Initially appears as a dainty maiden behind a fan, though the The Order of the Bloated Bloated Woman China (Shanghai) fan casts an illusion masking the Woman worships Nyarlathotep in this true form of a large bloated form. tentacled humanoid who eats brains. Crawling Dreamlands Mist Those who study the black arts are sometimes contacted by this avatar. In Appears as a larger version of Dark Demon treacherous. Unfortunately, Nyarlathotep never makes good on this promise. Appears as a pitch-black, eightCalifornia, foot-tall, faceless man who can Dark One Louisiana, walk through any physical Tennessee barrier. This avatar wails as it forms and Dweller Wood of in N'gai Darkness shape it pleases for short time periods. Table-b (EM) Nyarlathotep's forms Name The Appears as a winged, Faceless God The Floating Horror The
[10]
Pharaoh worships Nyarlathotep in this form.
Manifests as a devastating storm.
IK, rpg[8]
rpg[9]
Appears as a putrid, living fog.
EL
return for entering their bodies, the Dark the Black Demon yet more Demon promises them great rewards. KD
MK
reabsorbs random appendages. It has no face, but can take any DD'
Region
Description
Notes This avatar has the ability to send
References
Ancient Egypt faceless sphinx.
its worshippers back through time. Appears as a bluish,
FG
Haiti
red-veined jellyfishlike creature.
AP
Australia;
A bloated, batlike
Its most important cult is
CD, HD,
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Haunter of the Dark Providence, Rhode Island; Yuggoth creature with a single, burning, three-lobed burning eye which appears able to kill by fear alone. This avatar is destroyed by light. the Church of Starry Wisdom, based in Providence, which can summon the avatar using the Shining Trapezohedron. It is also worshipped by some modern Aborigines. Its other epithets include Face Eater, Father of All Bats, Dark Wing, Sand Bat, and Fly-The-Light. Appears as a hideous, Occasionally referred to as the Howler in the Dark Wood of N'gai (somewhere in northern America) howling giant with a God of the Bloody Tongue, or the tentacle in place of a Bloody Tongue for short. face. L'rog'g (also Lrogg), Bat God of L'gy'hx Appears as an Messenger of the Old Ones across the sky. This avatar, appearing in the Los Eight-foot-tall, pale Angeles area, is closely associated Mr. Skin Los Angeles silver, faceless with certain worshippers of Shubimitation of a pimp. Niggurath. Table-c (NW) Nyarlathotep's forms Name Region Description Appears as a black human-like Shugoran Malaysia creature playing a horn. This avatar is only known to manifest in the city The Thing of 'Ygiroth in the Dreamlands. Some claim that it is in the Dreamlands Yellow Mask Leng (see High Priest Not to Be Described). in yellow silk. unnamed monasteryon the Plateau of A creature clothed the lone occupant of the remote, CE, FY, YG sometimes summon this avatar to punish offenders. This form is worshipped by the Tcho-Tcho. They BH, rpg[13] Notes References MK enormous black mass occasions of cosmic importance, that seems to creep such as the awakening of Cthulhu. rpg, WA This form is manifest only during The planet L'gy'hx(Uranus) Appears as a twoheaded bat (debatable). Avatar worshipped by the cuboid inhabitants of L'gy'hx and by a group of renegade Shan. IS, rpg[12] DD rpg,[11] S5
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Appears as a The White Man New blonde man in a England shiny white robe. Popular culture NS

References
In The Stand (the uncut edition) by Stephen King, Nyarlathotep is said to be one of the pseudonyms of Randall Flagg. In Haiyore! Nyarko-san Japanese parody light novels with romantic comedy theme.[14] The heroine, Nyarko, is Nyarlathotepian alien who claims that her kin was friend of Lovecraft and become his inspiration of mythos. In Charles Stross' novel The Fuller Memorandum, the containment of Nyarlathotep in a parallel universe and the attempts of a cult to free "the Black Pharao" is the main focus of the plot. A 13-minute short film version of Nyarlathotep[15] was released in 2001, directed by Christian Matzke.[16] It was re-released on DVD in 2004 as part of the H. P. Lovecraft Collection Volume 1: Cool Air. "The Dark Eternal Night" from Dream Theater contains numerous references to locations and imagery described in the short story Nyarlathotep. Nyarlathotep also appears in the Megami Tensei series as a recurring demon and as a villain, particularly as the main antagonist of the first and second Persona games.. Nyarlathotep is a boss in the game Cthulhu Saves the World.
Harms, Daniel. "Nyarlathotep" in The Encyclopedia Cthulhiana (2nd ed.), pp. 218222. Oakland, CA: Chaosium, 1998. ISBN 1-56882-119-0. [edit]Notes
1. 2.
^ HP Lovecraft, "Nyarlathotep", The Doom that Came to Sarnath, New York: Ballantine Books, 1971, 57-60. ^ H. P. Lovecraft, letter to Reinhardt Kleiner, December 21, 1921; cited in Lin Carter, Lovecraft: A Look Behind the Cthulhu Mythos, pp. 18-19.
3.
^ Will Murray, "Behind the Mask of Nyarlathotep", Lovecraft Studies No. 25 (Fall 1991); cited in Robert M. Price, The Nyarlathotep Cycle, p. 9.
4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.
^ Price, p. vii, 1-5. ^ Harms, "Nyarlathotep", The Encyclopedia Cthulhiana, pp. 2189. ^ Detwiller et al, Delta Green; Herber, "Dead of Night". ^ DiTillio & Willis, Masks of Nyarlathotep. ^ DiTillio & Willis, Masks of Nyarlathotep ^ DiTillio & Willis, Masks of Nyarlathotep. ^ Harms, The Encyclopedia Cthulhiana, "The Floating Horror", pp. 222. This name was created by Harms. ^ DiTillio et al, "City beneath the Sands"; Petersen et al, The Complete Dreamlands. ^ Aniolowski, Ye Booke of Monstres. ^ Ross, Escape from Innsmouth. ^ GA Bunko Official Japanese site ^ Nyarlathotep (2001) ^ H. P. LOVECRAFT'S NYARLATHOTEP: The Official Website
34
***
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10.Yesod (foundation)
Nephthys, the rook or castle. FIFTH ANGLE: Humanity as the physical vehicle for the expression of the Satanic psyche as discussed in the Fourth Angle. Concept of the body as a necessary medium for the self-realization of the psyche, at least in its early stage. Translation of this into physical representation of supra- energy/matter Forms such as Set via the creation of images, building to temples, etc. A temple with five trihedrons is a four-faced pyramid (as Giza), the 4/5/9 seal is the seal of the Order of the Trapezoid: a marvel of integrated, interrelated 4/5/9 values. As noted elsewhere, even the addition of 4+5+9 = 18, which takes you into the "returning' qualities of 9 as expounded upon in Anton LaVey's "Unknown Known' in The Satanic Rituals. In geometry 5 creates the pentagram, hence the Golden Section, hence the concept of perfection. This is why to Pythagoras (and his priestly mentors) 5 was the most sublime of numbers, and why the pentagram was used as the seal of the Pythagorean Brotherhood. The Fifth Angle represents arrival. This angle should be used for giving thanks when one has arrived at the destination. A magician needs goals to drive him, and he should expect to accomplish many of these. When he had done this, it is important to mark the occasion and praise the Old Ones for Their assistance. The Fifth Angle: Crimson Earth Soba imprek nab Sapahe I-el Adorahk sob ha atahe corazo Q orhaneznet Jkasan sabt Cthulhu ahjhan Fenotat dresbit canakon dasonuf Nyarlathotep preshari naj Gorotep septh northae Reerideth nygh Leng
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Yog Sothoth evisht za
***
37

10. Malkuth (kingdom)
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NINTH ANGLE: the culmination of this dynamic process: the Black Flame in its perfection: the 'will to power" of Nietzsche in a glory of desire: the extension of the Enlightened Will and Initiated Psyche throughout all dimensions of space, time, and thought: what in the AEon of Set would be Uttered as Xeper. The Ninth Angle is for bringing the Old Ones into our dimension. Always on the precipice of our universe, the Ancient Things lurk in shadow planes of damnable, howling malignance. Reciting this angle in the ritual chamber will speed Their return. The Ninth Angle: (color unknown) Consciousness Larasada ebonai grakta nefth Zenik noch Uoon kalool Cthulhu Infaerna rai hatquroon abatae deth kasheen Orak zda dobitza tairoo Navarosa ebenjarahk tora nai thestai Meek aye thasa ebbtae Nicoron asht BeshtoNATH ibsahn orroat kafjith Sooprune Zaj-gagahmek Ivameda Yog Sothoth vauaahe est Rahminsigh
***
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The Nine Angles explored within the Tree of Life. The First Angle represents exile from all the things one knew. As a Cthulhu Cultist comes to this elder wisdom, he realizes that almost everything he knew before this point is a lie. Only by exiling himself from his former paradigm can he begin the transformation. This Angle can be utilized any time a black magician wants to leave something in his life. This could be a disappointing time period, unfulfilling relationship, or annoying career. Reciting these words in the ritual chamber will make the 'leaving behind' easier and more fruitful. The First Angle: Magenta Fire Es Gorah-toth Meek aye Gath rinkh Astorhath. Dorate Blask ebth toh eskabnae reerideth Uoon kalool Piamoel zodiredo Saitan Ia Ia Cthulhu Sorenzo Iagga *** The Second Angle represents the struggle to know. This is the learning process, the abyss between what one is leaving behind and the place one is traveling to. This Angle can be ritualized when approaching something new. The reciting of these words will allow the mage to have a fresh and open-minded perspective; useful before tackling an unknown challenge. The Second Angle: Black Water Ith Rossadeg Goar Gogithkai casarema Vaurelar to-et pahreji Naja Isqua Taleknesh Zibza anchor Ak-behy Ak-behy Uoon kalool Durant aktah Cthulhu ishtahn Zaj-gagahmek Eeyash Yethkai *** The Third Angle represents the destruction of obstacles. Anything that is in the magician's way can be dealt with. Obstacles are a regular occurrence, but they need not divert one's true path. Simply recite these words in the ritual chamber to destroy current obstacles and prevent new ones from appearing. In this case, an obstacle could be anything from petty bureaucracy to a human being. A magician must tread the road he was meant to walk, and it is his destiny to clear the way. The Third Angle: Orange Air Gigipahe Ill-katheen Draegor Iksss Azathoth elubrae Nekpa zazigor Ipshae jezir mamonah pahreji zodiredo Ubathla Zaemiel kashto nazda bahl Ibtorka iyath sha Resparitee krietgth Cthulhu Phnglui manskrite ZHRO *** The Fourth Angle represents Awakening. The mage must prepare his mind before understanding the situation, setting goals, and directing forces. This evocation is a preliminary measure to restore balance. A certain amount of mindfulness is needed before acting. A magician should recite these words in order to be aware of hidden choices. Useful for becoming the void, Awakening. The Fourth Angle: Emerald Consciousness Eeyash Babilya Sorenzo kara ka Zaj gasht Elubrae aktah Zulutan Bahgrog Ia Ia Ikthbae Izratan heb neth nath ra. Cohm tae Konza beretoth Jushjta
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Gigipahe torezodul tsa Pilada calaa Cthulhu gebl wgahnagl Eeyash Aa-shanta *** The Fifth Angle represents arrival. This angle should be used for giving thanks when one has arrived at the destination. A magician needs goals to drive him, and he should expect to accomplish many of these. When he had done this, it is important to mark the occasion and praise the Old Ones for Their assistance. The Fifth Angle: Crimson Earth Soba imprek nab Sapahe I-el Adorahk sob ha atahe corazo Q orhaneznet Jkasan sabt Cthulhu ahjhan Fenotat dresbit canakon dasonuf Nyarlathotep preshari naj Gorotep septh northae Reerideth nygh Leng Yog Sothoth evisht za *** The Sixth Angle is for helping one's friends and family. When aid must be given to those close to the magician, recite these words in the ritual chamber. The Dark Gods will look favorably on the magician's friends and family. Everyone who wishes the mage success will in turn be successful. Being simultaneously evil and altruistic is not impossible. On the contrary, the greatest wickedness can be carried out when striving for a higher purpose. The Sixth Angle: Vile Yellow Fire Forkateen hasht nab gastinsta zedroab septh Gorotep kara ka Cthulhu noco mada qumla Torinuta est Ill-katheen kriet bestya hai qoreen Sooprune sta Verinsta esbrekshta zad miranoit Imprek iadanamor mas itoon Igrog xura hohn-tep Yaddith *** The Seventh Angle is for acquiring sexual gratification. The magician should speak this evocation in order to acquire a satisfactory partner for intimate relations and lustful practices. Many are the wizards who have sought their scarlet woman and realized their darkest dreams; or, in the Cthulhu Cultists parlance, an emerald woman. Sex can open unique doorways of perception. There is strength in such indulgence. The Seventh Angle: Aquamarine Water Uoon kalool irik hast Inerfo Tahrone izzibanatee kas Cthulhu rai hatquroon blaht za Q orhaneznet gorotep Pleshten ziroob tai est Inanzorbae Uoon kalool irik hast Kafjith Yuggoth hatheg *** The Eighth Angle is for completing a magician's evolution. The Old Ones advanced human evolution to a certain degree; however, man remains unfinished. This Angle will allow the mage to become more (or less) than human. He will become sufficiently alien and demonic in nature enough to bear the Old Ones seal. The mage who hath proved himself shall become like the Old Ones themselves! The Eighth Angle: Violet Air Umela Zortae Umth Orak Ishbae tahn beshtor nathsoon Cthulhu ebtansorat plie eskabnae reerideth
41

Pereda zorat corempta tai est hapthee noch Cohm tae pilada mada forada Zenik thasa aeh Plirakthorna tzaht hesht Necronomicon fhtagn INGANOK *** The Ninth Angle is for bringing the Old Ones into our dimension. Always on the precipice of our universe, the Ancient Things lurk in shadow planes of damnable, howling malignance. Reciting this angle in the ritual chamber will speed Their return. The Ninth Angle: (color unknown) Consciousness Larasada ebonai grakta nefth Zenik noch Uoon kalool Cthulhu Infaerna rai hatquroon abatae deth kasheen Orak zda dobitza tairoo Navarosa ebenjarahk tora nai thestai Meek aye thasa ebbtae Nicoron asht BeshtoNATH ibsahn orroat kafjith Sooprune Zaj-gagahmek Ivameda Yog Sothoth vauaahe est Rahminsigh ***
***
42

The Dreamworld a Map by HP Love Craft.
The Dreamlands is apparently divided into four regions: the "West" (location of Steps of Deeper Slumber, the port of Dylath-Leen (largest city of the Dreamlands), the town of Ulthar (where no man may kill a cat), Hlanith (a coastal jungle city), Ilarnek (a desert trade capital), Mnar, the ruins of Sarnath and Enchanted Wood); the "South" (location of the isle of Oriab and the Fantastic Realms); the "East" is (location of the city Celephas, created from cloth by its monarch King Kuranes, the greatest of all recorded dreamers, and The Forbidden Lands); and "the North" (location of the Plateau of Leng, complete with man-eating spiders and satyr-like beings known as the "Men of Leng". Other locales include "The Underworld" (a subterranean region underneath the Dreamlands and inhabited by monsters), the "Moon" (accessible via a ship and inhabited by "moon-beasts", creatures allied with Nyarlathotep) and Kadath, a huge castle atop a mountain and the domain of the "Great Ones". ***
43
***
44

The Cthulian Dictionary or Cult of Cthulhu Glossary A - cold, emotionless Abva - lubricated Adorahk - infected Ahjhan - vibration, resonance Ahmar - blood Ahraev - formless Ak - is to be, destined Ankor - distorted Anth - dark Arrh - distance Ashith - knowledge Astor - community Atahe - octopoidal Ateen - black motives Athik - symbol, symbolic Babilya - kneeling Bahl - sleep Barham - wormlike Bekt - you Besya - council Bey - pure Blask - pulpy Bnae - wet Byzt old Calaa - fiendish Canak - macabre, deathlike Chakra - center Chn - glowing, luminous Cho - skin, flesh Cohm - sitting Cora - persistent Coroza - stained Crom - twilight Czhan - godlike D - on, upon, above Daera - enduring Darb - taster Daw - beloved Delgado - creation Deg - beneath Deth - layered Dhim - protection Dorate - skull Doxa - honor Draegor - ninth Drekth - hideous Dtort - yellowish Ebonai - chicanery, trickery Ebth - cancerous Eeyash - exotic Ellisa - nasty, dirty Elubrae - majority Esbara - predestined Eska - buzzing Est - religious Etbrae - nameless Evisht - starry, from the stars Eznet - vicious Ezra - brief, subtle Fena - Inconsolable Feid - magician Fhal - awful Fley - beautiful Fornu - stone, rock Fsirie - power Gagh - abyss Gath - dangerous Gekta - torn Gigphael - overgrown Glith - arrival, approach Gorah - worthless
45

Gpock - cryptic, obscure Groag - demon Gth - noble Gyalo - exploitation H - privileged Haiasi - fortune telling, oracle Haji - desert Hath - given Hashtan - complexity Heb - combination Hek - womanizer Hesh - honored, close, valued Hijab - modesty Hohgth - astral Holit - fire, flame Ia - yes, hail, triumphant Iagga - bestial Ibtorka - inattentive, unobservant Igrog - unspeakable Ijad - language Ikest - rehearsed, practiced, prepared Ikss - illicit Ilt - calm Inha - the Ipshae - stream Iredo - feline Ishliem - submission Isqua - fungi Ith - savage Ivsha - whispering Iyath - struggle Izratan - temple Jahorv - many, multiple Jeem - tentacles Jezir - leadership Jith - betrayal Jizahd - strive, pursue Jkasan - transcendent Jorath - curse, death magic Jush - aborted Kafjth - shining Kai - nightmarish Kaiul - essence Kalool - interpretation Kara - divine Kashto - overflowing Kesh - passion Konza - degenerate Koth - shells, vessels Kriet - unknown Kshta - elastic Ktheen - wandering Kzin beyond La - patient Lahn - wearied Li - festering, rotting Lgorva - corpulent Loth - spiritual Loz - why Lut - devoted Mada - weird Mansk - fortuitous Mek - crystal, crystalization Mhira - gibbering Moath - introduction Mseth - tedious N - night, knighted Namor - enveloping Nath - trinity Nefth - dream Nekpa - minority Nesh - existence
46

Neth - potency Noch - will Noco - uncertain Nthsoon - ooze Nuszeth - black Nygh - slithering Okrn - shadow Onah - defense Oola - is Oolo - are Orrat - reasonable Ozra - will be Pahreji - voluptuous Phn - ineffable Piamel - textured Pilada - wisdom Plirak - steal, thievery Preji - beyond Q - profane Qev - voluminous Qureth - pregnant Ra - servant Rahm - serpentine Reeri - gateway Respa - murder Rhan - design Ritee - chaos Rossa - ancestry Rzith - personal glory Sabt - clear Sahn - independence Shanta - turbulent Sharaz - unseen horrors Shenth - subjective Shtort - glistening Sigth - madness Smahk - estranged Soba - poisonous Sooprune - enchantment Stret - commanded Swib - ceremony, ritual Talek - consciousness Tahn - matter Than - pale Thorna - stealth Thoth - sorcerous Toet - thin Tzahr - oblivion Ubath - supposedly Umla - saddened Uoon - continue Usib - psychology, mental state Uzahd - collective, group V - colorful Vathik - early Vaurelar - handful Vazn - hallucinogen Verins - unnatural Vhrat - how, in what way Vos - triangular Vul - self-effacing Wai - mentor, teacher Wgah - pleased Whorgt - ultimate Wteen - time X - menacing Xan - tropical Xhith - blessed Xor - feasting, appetite Y - welcome Ydan - frozen Yeth - ghoulish
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Yev - key Yith - faithful Yzrai - squirming, seeping Zamiel - inclusive Zazigor - opinion Zodul - red, crimson Ztari - fantasy, imagination *** The Family Tree of the Gods
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Clark Ashton Smith I have filled out the "style-sheet" with such annotations and details concerning Tsathoggua as I am at present able to furnish. Some of these have required considerable delving into the Parchments of Pnom (who was the chief genealogist as well as a noted prophet) and I am well aware that certain of my phonetic renderings from the Elder Script are debatable. You raise some interesting points with your questions. Azathoth, the primal nuclear chaos, reproduced of course only by fission; but its progeny, entering various outer planets, often took on attributes of androgynism or bisexuality. The androgynes, curiously, required no coadjutancy in the production of offspring; but their children were commonly unisexual, male or female. Hzioulquoigmnzhah, uncle of Tsathoggua, and Ghizghuth, Tsathoggua's father, were the male progeny of Cxaxukluth, the androgynous spawn of Azathoth. Thus you will note a trend toward biological complexity. It is worthy of record, however, that Knygathin Zhaum, the half-breed Voormi, reverted to the most primitive Azathothian characteristics following the stress of his numerous decapitations. I have yet to translate the terrible and abominable legend telling how a certain doughty citizen of Comnioriom (not Athammaus) returned to the city after its public evacuation, and found that it was peopled most execrably and numerously by the fissional spawn of Knygathin Zhaum, which possessed no vestige of anything human or even earthly. Ech-Pi-El, I am sure, can furnish much fuller data concerning the genesis of Tulu (Cthulhu) than I am able to offer. It would seem, from the rather oblique references of Pnom, that Tulu was a cousin of Hzioulquoignmzhah, but was somewhat closer to the Azathothian archetype than Hzioulquoigmnzhah. The latter god, I learn, together with Ghisghuth, was horn of Cxnxukluth in a far system. Cxaxukluth came en famille (family already included Ghisguth's wife, Zstylzhemgni, and the infant Tsathoggua) to Yuggoth (where, I may add, Cxaxukluth has most mercifully continued to sojourn throughout the aeons). Hzioulquoigmnzhah, who found its parent slightly uncongenial owing to its cannibalistic habits, emigrated to Yaksh (Neptune) at an early age; but, wearying of the peculiar religious devotions of the Yakshians, went on to Cykranosh, in which he preceded by several aeons his nephew Tsathoggua. (Tsathoggua, with his parents, lingered a long while in Yuggoth, having penetrated certain central caverns beyond the depredations of Cxaxukluth.) Hzioulquoigmnzh, a rather reflective and philosophic deity, was long worshipped by the quaint peoples of Cykranosh but grew tired oi them even as of the Yakshians; and he had permanently retke~ from active life at the time of his encounter with Eibon as relatec inThe Door To Saturn. No doubt he still resides in the columned cavern, and still quenches his thirst at the lake of liquid metal-a confirmed bachelor, and sans offspring. My account of Tsathoggua's advent can readily be reconciled with the references in The Mound. Tsathoggua, travelling through another dimension than the familiar three,first entered the Earth by means of the lightless inner Gulf of N'Kai; and he lingered there for cycles, during which his ultraterrestrial origin was not suspected. Later, he established himself in caverns nearer to the surface, and his cult thrived; but after the coming of the ice he returned to N'Kai. Thereafter, much of his legend was forgotten or misunderstood by the dwellers in the red-litten Caverns of Yoth and blue-litten Caverns of K'n-Yan. Through such mythopoetic variations, GIl'-Hathaa-Ynn came to tell the Spaniard Zamarcoma that only the images of Tsathoggua, and not Tsathoggua himself, had emerged from the inner world. . . . *** Cthulhu Mythos celestial bodies The following fictional celestial bodies figure prominently in the Cthulhu Mythos stories of H. P. Lovecraft and other writers. Many of these astronomical bodies have parallels in the real universe, but are often renamed in the mythos and given fictitious characteristics. In addition to the celestial places created by Lovecraft, the mythos draws from a number of other sources, including the works of August Derleth, Ramsey Campbell, Lin Carter, Brian Lumley, and Clark Ashton Smith. Overview:
Name. The name of the celestial body appears first. Description. A brief description follows.
49
References. Lastly, the stories in which the celestial body makes a significant appearance or otherwise receives important mention appear below the description. A simple two-letter code is usedthe key to the codes is found here. If a code appears in bold, this means that the story introduces the celestial body. * Abbith A planet that revolves around seven stars beyond Xoth. It is inhabited by metallic brains, wise with the ultimate secrets of the universe. According to Friedrich von Junzt's Unaussprechlichen Kulten, Nyarlathotep dwells or is imprisoned on this world (though other legends differ in this regard). * Arcturus Arcturus is the star from which came Zhar and his "twin" Lloigor. * Celaeno One of the seven stars of the Pleiades. On its fourth planet is the Great Library of Celaeno, which houses stone tablets containing secrets stolen from the Great Old Ones and Elder Gods. Professor Laban Shrewsbury spent some time here, transcribing the library's knowledge in his notebooka manuscript that would later be known as the Celaeno Fragments. * Cykranosh The Hyperborean name for the planet Saturn is Cykranosh. It was the home of the god Tsathoggua before he came to Earth, though several of his relatives, including his uncle, Hziulquoigmnzhah, still dwell there. * Glyu-Uho Glyu-Uho (or Glyu-Vho or K'Lu-Vho) is the name for Betelgeuse in Naacal (the language of Mu), and is the star where the Elder Gods came from to battle the Great Old Ones (though it may actually be the place where a gateway leads to Elysia, the dimension where the Elder Gods are thought to live). * Haddath Haddath (also Haddoth or perhaps Urakhu) is a fiery planet, possibly found near the "eye" of the constellation Hydra, and is believed to be inhabited by the chthonians. Shub-Niggurath is thought to have once dwelt here. * Ktynga Ktynga (or Norby's comet) is the name of a bluish comet that is currently near the star Arcturus. The comet is unusually hot and has strange properties, such as the ability to travel faster than light. On the surface of the comet is a huge building wherein dwells the being Fthaggua and his servants, the fire vampires. Fthaggua and his minions can guide the comet to travel between the stars, and will visit our solar system four centuries from now. * Kynarth A mysterious celestial body located past Yuggoth (or Pluto?) on the edge of the solar system. *
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Kythanil Kythanil (or Kythamil or Kthymil) is a double planet orbiting the star Arcturus and is the place were Tsathoggua's formless spawn came from. * L'gy'hx The planet Uranus. It is inhabited by metallic, cube-shaped beings with multiple legs. These creatures worship a minor deity known as L'rog'g (possibly another aspect of Nyarlathotep), whose rituals require a yearly sacrifice in the form of the excising of the legs from a native. When the Insects from Shaggai (the Shan) arrived, the natives of L'gy'hx initially tolerated them and allowed them to build a huge city. After two centuries, the natives even came to see the Shan as co-rulers of the planet. In time, many Shan eschewed the veneration of Azathoth and began to worship the L'gy'hx deity L'rog'g. But when some natives of L'gy'hx likewise turned to the worship of Azathoth, the event prompted the priests of L'rog'g to start an inquisition, inflicting gruesome punishments on the heretics. Relations with the Shan soured quickly as a result, and the priests of L'rog'g demanded that all temples of Azathoth be removed from L'gy'hx. A small group of the Shan, still faithful to the Azathoth sect, left L'gy'hx, teleporting themselves and their deity's temple to the planet Earth. * Mthura Dark planet inhabited by crystalline beings and the dwelling place of the Great Old One Q'yth-az. The Nug-Soth of Yaddith journeyed to this world in hopes of finding a magical formula that would defeat the Dholes. * Shaggai Shaggai (or Chag-Hai) is a planet orbiting twin green suns and is the homeworld of the Shan, or Insects from Shaggai. The Shan's planet was destroyed eight centuries ago, possibly by Ghroth the Harbinger. The being known only as The Worm that Gnaws in the Night also resides here. * Shonhi Shonhi (also Stronti) is a transgalactic world frequented by the denizens of Yaddith. * Thuggon A planet where the Insects from Shaggai dwelt for a while. They initially believed the planet was uninhabited; but when their slaves began disappearing, they soon discovered the terrible truth. They left shortly thereafter. * Thyoph A huge planet that broke apart to form the asteroid belt. According to the G'harne Fragments, the event was caused by a "seed of Azathoth". * Tond A mysterious planet believed to be part of our solar system, though the predominant view places it in a binary star system near Baalbo (a dark star) and its companion Yifne (a green sun). The being Glaaki is believed to have visited this world en route to Earth. * Vhoorl A planet in the "twenty-third nebula" and the supposed birthplace of Great Cthulhu.
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* World of Seven Suns Possibly a planet near Fomalhaut according to some writers. Its inhabitants created seven artificial suns to replace their dying natural sun. Lovecraft said that Nyarlathotep dwells on the World of the Seven Suns, but he makes no connection with Fomalhaut. Others connect the Seven Suns to the seven stars of the Pleiades, the Hyades, or possibly Ursa Major. * Xentilx A distant galaxy and the dwelling place of the Great Old One Zathog. * Xiclotl The sister planet of Shaggai. The Shan conquered this world and enslaved its native inhabitants, a race of carnivorous monsters. When Shaggai was destroyed, the Shan joined their brethren here and remained for some time. * Xoth [T]he spawn of Cthulhu ... came down from remote and ultra-telluric Xoth, the dim green double star that glitters like a daemonic eye in the blackness beyond Abbith. Lin Carter, "Out of the Ages" Xoth (or Zoth) is the green binary star where Cthulhu and his ilk once lived before coming to earth. According to the Xothic legend cycle, it is where Cthulhu mated with Idh-yaa to beget Ghatanothoa, Ythogtha, and Zoth-Ommog. Xoth is also the native home of Ycngnnisssz and Zstylzhemghi, and was the temporary home of the latter's "husband", Ghisguth, and their progeny, the infant Tsathoggua. Tsathoggua later went to live on Yuggoth. Afterward, he fled to Cykranosh to escape Cxaxukluth's cannibalistic eating habits. Xoth may be the star Sirius, since "Xoth" is similar to "Sothis", the Egyptian name for the star. However, it is more likely that Xoth coincides with the star "Zoth" in Smith's writings. * Yaddith Yaddith is a distant planet that orbits five suns. Aeons ago it was inhabited by the Nug-Soth, creatures with traits similar to mammals, reptiles, and insects. The Nug-Soth sought a way to prevent the destruction of their planet's crust by theDholes, but to no avail. Eventually, the Dholes overwhelmed them and destroyed the Nug-Soth's civilization. Survivors of the catastrophe escaped, however, and hid on various planets. Life on Yaddith amongst the Nug-Soth and the Dholes that threatened them was first described in detail in Through the Gates of the Silver Key as Randolph Carter is stranded there for hundreds of years while sharing the body of Zkauba the wizard, though Lovecraft did not name the race that inhabited the planet. Robert M. Price's short story "Saucers from Yaddith" (1984) hints that Nug-Soth scientists have appeared on Earth performing various experiments on humanssome relatively harmless (such as changing a man's blood type from B to A), some rather bizarre (two brothers in medieval Germany claimed that an "angel" had switched their hands and eyes), and others utterly horrific or disgusting. * Yaksh Yaksh is the planet Neptune and is inhabited by strange fungous beings. Hziulquoigmnzhah dwelt here for a while after fleeing Yuggoth to escape Cxaxukluth's cannibalistic urges. Hziulquoigmnzhah was evidently worshipped by the Yakshians, but he soon tired of their venerations and moved to Cykranosh.
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* Yarnak Planet with three moons that orbits Betelgeuse in the mysterious Gray Gulf of Yarnak. The now-deserted city of Bel Yarnak is on its surface. The world may have been the one-time home of the Great Old One Mnomquah. * Yekub A planet in a distant galaxy. It is inhabited by a race of technologically-advanced beings that resemble huge centipedes that are slightly larger than a human. The populace worships an entity known as Juk-Shabb, which appears as a glowing, color-shifting orb. Very little is known about this deity other than it is telepathic and is greatly revered by the denizens of Yekub. The Yekubians destroyed all intelligent life in the galaxy where they dwelt and sought to extend their influence throughout the universe. As part of their grand scheme, they sent out cube-shaped probes that could effect a mind-swap with any intelligent creature who found one. In this way, Yekubian agents could infiltrate the finder's world. One such cube landed on the Earth during the reign of the Great Race of Yith. When several of its members were taken over, the Yithians realized the danger of the cube and sequestered it under heavy guard. Eventually, however, the cube was lost. * Yith The original homeworld of the Great Race of Yith, according to the Eltdown Shards. It is described as a "black, aeon-dead orb in far space" ("The Shadow out of Time", Lovecraft). Its actual location is a mystery. Some scholars place it in our ownsolar system, just beyond Pluto; others say it is the fourth of the five planets that orbit the star Ogntlach. Yith is said to have a thin atmosphere and seas heated by geothermal energy. * Ylidiomph The Hyperborean name for the planet Jupiter. * Ymar A planet in the same star cluster as Abbith, Xoth, and Zaoth. * Yrautrom Yrautrom is a distant planet orbiting the star Algol, said to be home to Zvilpogghua, an offspring of Tsathoggua. * Yuggoth Yuggoth (or Iukkoth) is the dwarf planet Pluto. It may alternately be an enormous planet that orbits on the rim of the solar system. * Zaoth A planet near Xoth. It is home to metal brains and houses a great library of Yuggothian books. After Yaddith was destroyed by the Dholes, several survivors of the catastrophe fled here. ***
Addendum. The Filth is a comic book limited series, written by Grant Morrison and drawn by Chris Weston and Gary Erskine. It was published by theVertigo imprint of DC Comics in 2002. The Filth was Grant Morrison's second major creator-owned
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series for Vertigo after The Invisibles. Initially starting as a Nick Fury proposal forMarvel Comics, Morrison adapted it as a 13 part series for Vertigo. The title refers both to the police (in British slang) and to pornography (in which Morrison "immersed" himself while "researching" the series). Morrison has said that the series is his favorite among his works. The series tells the story of Greg Feely, a bachelor whose main interests are his cat and masturbating to pornography. Feely is actually a member of a shadowy organization called The Hand and their attempts to keep society on the path to the 'Status Q'. The Filth can be seen partly as companion piece to The Invisibles in that it touches upon similar themes and concepts such as fractal realities, art affecting life, postmodern blurring of the fourth wall and the world as a single, living organism with humans as the cells that compose it. Morrison has stated that he had originally intended to make The Filth a thematic sequel to The Invisibles, followed by a third comic book series,The Indestructible Man. Morrison later concluded that his original Flex Mentallo series formed the first in the trilogy. Therefore the sequence runs: 1. Flex Mentallo. 2. The Invisibles, 3. The Filth. The theme of The Filth consists of immersion into and eventual redemption from forces of negativity. Morrison conceived the series as an exploration (which he made the point of also doing in his life) of the negative forces of the Qliphoth or "Tree of Death" which the occult tradition of ceremonial magic conceives as the negative equivalent of the Tree of Life. Accordingly, Qlippothic symbolism (i.e. colors) appear throughout the story.
*** ** * The enD A beginninG
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A Tree With Nine Angles

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A Tree With Nine Angles

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The front and back of the Tree of Life.