In The Garden I Saw A Shade

This Week’s Prompt:51. Enchanted garden where moon casts shadow of object or ghost invisible to the human eye.

The Resulting Story: There is a Garden atop a Mountain

Now we begin a venture into two separate realms, both of shadow and of gardens, and what is in between. The central place in this story is something of an uncanny places, where the unseen is temporarily perceptible under the moon (who’s various shapes we recorded here). A moonlit walk in a garden is an almost romantic view of something unseen.

CarlLineaus

Look at this dork. Hey Carl.

The role of a garden is important however. Garden’s have long had a place in Western thought, as places of cultivated nature that appear wild. Carl Linnaeus, an advocate for the idea of a fixity of species, viewed the world as a well cultivated garden, with the Lord as it’s gardener. This connects to the presentation in Western mythos of the Garden of Eden, where the lord tends to all things. It is a symbol of cultivation, growth, and to a degree riches. YHVH is not the only god with gardens however. The Greeks had the Hesperedies and some sources point to Indra possessing a celestial garden. Peach trees were cultivated by the celestial bureaucracy of China, and fruits of immortality were also grown by the Norse gods.

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This is cropped from the Garden of Earthly Delights. It gets weirder. See the cover pic? Yeah…

The connection with gods and gardens is more than something exclusive. Temples and monasteries often maintained gardens, either for contemplation or meditative purposes. These are separate from the wild places of the world, sacred groves and mountains that are maintained as wild as opposed to cultivated, and separate from those agricultural lands devoted to a temple that would often be redistributed among the public.

The most famous of these gardens are the Zen gardens of Zen Buddhism and Mary gardens of christian practice. I would point, briefly, to a wonderful story concerning monastic grounds and the discovery of a statue there in. It’s either a horror or humor story,depending on your own take. For me it was both.

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The connection between gods and gardens is more than just a potential connection of cultivation of the earth and tameness. It is also one of riches and authority. Gardens in ancient Egypt were known for providing nobility shade. Assyrian gardens were vaster complexes, given over to hunting areas of leisure. Gardens often in later times provided vegetables for manor houses. The garden was, in many ways, a symbol of riches and cultivation.

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The most famous of this category, without a doubt, is the Hanging Gardens of Babylon…which there is no archaeological evidence for in Babylon, although Nineveh may be their true home. All the better, if we are to work in mythology then. The gardens, one of the Seven Ancient wonders of the World, were built according to multiple informants to replicate the green hills of a queen’s homeland that she dearly missed. They are often raised or tiered, hence “hanging”, and have marvelous aqueduct systems to supply water to the trees.

Gradens thus already have something of the uncanny in them. They are close to gods, and by extension kings, and could be arranged as something liminal between the wilderness and the civilized lands. Particularly in periods where a garden served as much as a hunting reserve as it is a place for the gathering of fruits. The shadow is just as much, if not more, of a liminal thing.

Shadows have been tied to the realm of the dead for a considerable amount of time. The word “shade” shares an origin with shadow, obviously, and many descriptions of the afterlife in the near east place it in shadow. The shadow or shade is where the dark and light intermingle in a way. There are also reports, in the last few decades, of mysterious shadow people who may be reiterations of this older mythology.

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The loss of a shadow is bemoaned in many stories, although I cannot find any particularly old folklore. We have works by Dunsany that involve selling one’s shadow, a darker tale by Hans Christen Anderson where one’s shadow leaves and becomes a rather wicked man, a story of being shunned by society for lack of a shadow. In older mythology, the shadow sometimes reveals a creatures true intentions, as a reflection might. For instance, the Kitsune’s shadow is that of a fox demon regardless of her form. The devil has some associations with the shadows as his role of prince of darkness, helped by the Jungian concept of the shadow (We will get to that shortly).

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I feel like linking to “She’s a Maneater” here would be tasteless

Not all creatures of shadow are wicked, however, as the Sun god Surya in Hindu myth has married the goddess of shadow, and biblical passages often refer to the Lord as providing shade from the harshness of the sun. Dark isn’t evil I suppose.

Which brings us to the psychological shadow. The shadow, as conceived by the pyschoanalysist Carl Gustav Jung, is the result of repressed emotions and thoughts from the self. It has something in common with the Id of Freudian analysis, but is less inherently antagonistic and sexual. The shadow is better thought of as the opposite in the mind, rather than the barely contained chaotic.

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Ha. Look at this other dork. Also named Carl. Hi Carl.

The shadow as the source of a true self, as hidden hold of the soul, actually works fairly well with the notion of the Garden to a point. The graden is a place of divinity and sacredness, and while the shadow may be something profane, it is also a signifer of something human and sacred.  The shadow, like the garden, is something of revelation of character. It is the place where perhaps truth about the self comes out.

Alternatively, it might be better to have the garden by a place of confrontation with some spiritual force. This could call on a Lovecraft theme of seeking forbidden knowledge (And oh, wouldn’t that have a western parralel in Christianity!), and the shadow is often an uncomfortable thing to confront.

Said gardens, especially those that have been trespassed before, have guardians. The Hesperedies have the great dragon, and the Garden of Eden has the four headed cherubim, an angel of truly terrible appearance and power with a flaming sword that strikes in every direction. The Lovecraftian equivalent is an embodiment of time, of Yog-Sothoth, who guards the sleeping ancient ones. In the story of Death’s Master, Tales of a Flat Earth points to another sacred garden guarded by many fierce beasts.  So too will our garden be guarded by dreadful things.

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Pop Quiz: Are these four-headed winged warriors from Lovecraft or Ezekiel?

But then we have a new problem. What is in the garden that is so valuable. We could do well with fruits, I think. Fruits of immortality are common, but something interesting might come of using the apples of an odder sort: the golden apples of Perun. These are not tools of eternal life but items of ultimate destruction. Of course, perhaps there is a connection between the two concepts. Lighting and diamonds are often connected as symbols of enlightenment, power and durability. But that is secondary to the goal.

So our story will be of an expedition. I think at least two maybe three individuals, climbing the mountains in some far off land, to find the garden. The second portion will be the confrontation with the guardian, perhaps at the cost of life for one or two members. And then in the garden, they will find the shadows of those unseen. Perhaps hidden masters who have already partaken of the fruit, perhaps new guardians and gods enraged at being disturbed by mortal hands.

Or, perhaps, hunters in their garden surprised at new prey. We shall see.

 
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Calamity And Woe

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

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

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

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

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

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

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

or, Qualtiy over Quantity.

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

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

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

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

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

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

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

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