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William Blake’s mythology

From
Wikipedia, the free encyclopedia

The
prophetic books of the English poet and artist William Blake contain a rich invented
mythology (mythopoeia), in which Blake worked to encode his revolutionary spiritual
and political ideas into a prophecy for a new age. This desire to recreate the
cosmos is the heart of his work and his psychology. His myths often described
the struggle between enlightenment and free love on the one hand, and restrictive
education and morals on the other.

Sources

Among
Blake’s inspirations were John Milton’s Paradise Lost and Paradise Regained, the
visions of Emanuel Swedenborg, and the near-cabalistic writings of Jacob Boehme.
Blake’s vision went further, in that he not only expanded on the world of Biblical
revelation, but sought to transcend it by fusion with his own interpretations
of druidism and paganism.


The Fall of Albion

a depiction of the four zoas from William Blake's mythology1804-1811

a depiction of the four zoas from William Blake’s mythology1804-1811

The
longest elaboration of this private myth-cycle was also his longest poem—The
Four Zoas: The Death and Judgment of Albion The Ancient Man—left in manuscript
form at the time of his death. In this work, Blake traces the fall of Albion,
who “was originally fourfold but was self divided.”

The
parts into which Albion is divided are the four Zoas:


* Tharmas: representing instinct and strength
* Urizen: tradition; a cruel
god resembling the Gnostic Demiurge.
* Luvah: love, passion and emotive faculties;
a Christ-like figure, also known as Orc in his most amorous and rebellious form.

* Urthona, also known as Los: inspiration and the imagination

The
Blake Pantheon also includes feminine emanations that have separated from an integrated
male being, as Eve separated from Adam:


* The maternal Enion is an emanation from Tharmas.
* The celestial Ahania
is an emanation from Urizen.
* The seductive Vala is an emanation from Luvah.

* The musical Enitharmon is an emanation from Los.

The
fall of Albion and his division into the Zoas and their emanations are also the
central themes of Jerusalem: The Emanation of The Giant Albion.

Rintrah
first appears in The Marriage of Heaven and Hell, personifying revolutionary wrath.
He is later grouped together with other spirits of rebellion in The Vision of
the Daughters of Albion:


* The loud and lustful Bromion
* The “mild and piteous” Palamabron,
son of Enitharmon and Los (also appears in Milton)
* The tortured mercenary
Theotormon

The
mythology and the prophetic books

Scholarship
on Blake has not recovered a ‘perfected’ version of Blake’s myth. The characters
in it have to be treated more like a repertory company, capable of dramatising
his ideas (which changed, over two decades). On the other hand the psychological
roots of his work have been revealed, and are now much more accessible (with study)
than they were a century ago.

America,
a Prophecy is also one of the “prophetic works”. Here, the “soft
soul” of America appears as Oothoon.

Other
works concerning this pantheon:


* America a Prophecy
* The Book of Urizen
* The Book of Los
* Visions
of the Daughters of Albion

Albion

Blake's image of Albion, accompanying the words, "Albion rose from where he labourd at the Mill with Slaves / Giving himself for the Nations he danc'd the dance of Eternal Death"

Blake’s
image of Albion, accompanying the words, “Albion rose from where he labourd
at the Mill with Slaves / Giving himself for the Nations he danc’d the dance of
Eternal Death”

From
Wikipedia, the free encyclopedia

In
the complex mythology of William Blake, Albion is the primeval man whose fall
and division results in the Four Zoas: Urizen, Tharmas, Luvah/Orc, and Urthona/Los.
The name derives from the ancient and mythological name of the British Isles (see
Albion).

Sources

In
the mythical story of the founding of Britain, Albion was a Giant son of Poseidon,
the Greek god of the sea. He was a contemporary of Heracles,
who killed him. Albion founded a country on the island and ruled there. Britain,
then called Albion after its founder, was inhabited by his Giant descendants until
about 1100 years before Julius Cæsar’s invasion of Britain, when Brutus
of Troy came and defeated the small number of Giants that remained (as a group
of the Giants had killed all the others).

According
to another myth, Noah’s son, Japhet had a son named Histion, who had four sons.
Their names were Francus, Romanus, Brittos, and Alemannus and the French, Roman,
British, and German people are descended from them. Brittos divided Britain into
three kingdoms and gave each to one of his sons. They were Loegria (a Latinization
of the Welsh, Lloegr “England”), Scotland, and Cambria.

The
division of the primordial man is found in many mythic and mystic systems throughout
the world, including Adam Kadmon in cabalism and Prajapati in the Rig-Veda.


Usage

The
long, unfinished poem properly called Vala, or The Four Zoas, expands the significance
of the Zoas, but they are integral to all of Blake’s prophetic books.

Blake’s
painting of a naked figure raising his arms, loosely based on Vitruvian Man, is
now identified as a portrayal of Albion, following the discovery of a printed
version with an inscription identifying the figure. It was formerly known as “Glad
Day”, since it was assumed by Alexander Gilchrist to illustrate a quotation
from Shakespeare.

Blake
also uses the name Albion in its traditional meaning, as an ancient synonym for
Britain, in his poem “A Little Boy Lost” in Songs of Experience. The
poem tells about a young boy who, using reason, realizes that humans are selfish,
and that “naught loves another as itself.” He asks the priest, “father,
how can I love you/ or any of my brothers more?/ I love you like the bird that
picks up crumbs around the door.” The priest accuses the boy of blasphemy,
and burns him “in a holy place/ where many had been burned before.”
Blake concludes the poem by asking, “Are such things done on Albion’s shore?”


Children

The
Sons of Albion feature in the poem Jerusalem. They are 12, and are named as Hand,
Hyle, Coban, Guantok, Peachey, Brereton, Slayd, Hutton, Scofield, Kox, Kotope,
Bowen. These names are mostly drawn from figures from Blake’s 1803 sedition trial.

The
Daughters of Albion feature in Visions of the Daughters of Albion, and other prophetic
books. They are named, not consistently though, in The Four Zoas and in Jerusalem;
they are mostly drawn from Geoffrey of Monmouth.

Ahania

From
Wikipedia, the free encyclopedia

Urizen destroying Ahania; pencil study by Blake for Vala, or The Four Zoas.

Urizen
destroying Ahania; pencil study by Blake for Vala, or The Four Zoas.

Ahania
is the Emanation, or female counterpart, of Urizen, Zoas of reason, in William
Blake’s mythology. She is the representation of pleasure and the desire for intelligence.
Although Urizen casts her out as being the manifestation of sin, she is actually
an essential component in Blake’s system to achieving Divine Wisdom. She is a
figure of the goddess of wisdom. It is through her that the sons and daughters
of Urizen are born. In the original myth, her son Fuzon rebels against his father
and is responsible for separating Urizen and Ahania. In his later version, Ahania
is separated from Urizen after he believes that she is sinful.


Character

Ahania
represents pleasure and is connected to the Zoas Urizen, who represents reason.
They are divided because Urizen is unable to understand the necessity of pleasure
for the mind. In Blake’s early myth, Ahania and Urizen are united until their
son Fuzon separates the two by cutting his father’s loins apart. She is labeled
as Sin by Urizen and hidden away with her only capable of lamenting her fate.
Ahania is the representation of a Wisdom goddess, as she is an emanation of Urizen,
who is connected to the head.

In
Blake’s later myth, she provides Urizen with twelve sons and three daughters,
which represent the Zodiac and the three parts of the body. However, Urizen believes
that Ahania has too much influence and denies her the ability to come to the marriage
of Los and Enitharmon. In return, she becomes cold and distant. Eventually, Los
and Enitharmon bring Ahania to hear Enion’s wailing.[3] After Enion reveals the
fallen world to Ahania, she represents intellectual desire and has a sexual element.
Although she is cast off as being sinful, she is necessary for Divine Wisdom and
is essential for any act of creation. Urizen tells her that he is afraid that
Orc, the one that would overthrow him, would be born, and Ahania describes her
vision of dark future. Urizen, upset, separates from her because she is not obedient
enough for him. In despair, she enters the Caverns of the Grave. She returns on
the Last Judgment when Urizen stops trying to control everything. This action
allows Urizen to regain his previous form. In the feast after the Final Judgment,
she is reunited with Urizen.


Appearances

Ahania
is described in The Book of Ahania (1795), which gives her origins. She was originally
part of Urizen until her son, Fuzon, rebelled against Urizen and cut apart his
loins. This established her as a separate entity, and Urizen named her Sin. The
work ends with Fuzon’s death by the hands of Urizen. Eventually, this version
was overwritten in Vala, or The Four Zoas. The later version describes her more
as his shadow counterpart and of their many children. Urizen is a jealous lover,
which causes her to despair. Eventually, she is separated from Urizen when she
hears Enion’s lament. Ahania appears in Milton a Poem, and she is described as
lamenting after she is cast out. In Jerusalem The Emanation of the Giant Albion,
Ahania is described as a shade when Los is able to see the four Emanations.

Enion

From
Wikipedia, the free encyclopedia

In
the mythological writings of William Blake, Enion is an Emanation/mate of Tharmas,
one of the four Zoas, who were created when Albion, the primordial man, was divided
fourfold. She represents sexuality and sexual urges while Tharmas represents sensation.
In her fallen aspect, she is a wailing woman that is filled with jealousy. After
the Final Judgment, she is reunited with Tharmas and able to experience an idealised
sexual union.

Character

Enion
is an Emanation, a female essence that is part of one of the divine Four Zoas.
She is connected to Tharmas, who is the western and water based Zoas. He is connected
to the senses and to the body, and her aspect is sexual desire. It is possible
that her name comes from letters used in Enitharmon’s name, with Tharmas being
the middle portion of the name and hers representing the rest. Tharmas represents
a unity within the spirit, and, when Enion is separated from him, she becomes
the image of the earth mother. Enion has the power to generate the world. She
and Tharmas were able to get along until innocence was taken from their relationship.
She wanted to join with Tharmas but could not because of the idea of sin. Along
with creating nature, she creates the “Circle of Destiny”, which removes
Tharmas’s aspect of speech by shutting the Gate of the tongue.

After
her separation from Tharmas, she becomes jealous and attacks other Emanations
from his being even though they are her own children. Enion then separates the
free aspects, called Jerusalem, from Tharmas’s soul and hides from him in what
becomes the material world, known as Ulro. She is able to use her power to separate
from Tharmas his Spectre, which is a selfish, sexual form of Tharmas. From the
union of the two comes Los and Enitharmon, which represents Imagination and Poetry.
However, Los and Enitharmon flee. Enion is outraged and believes that the world
is cruel. Tharmas allows Enitharmon to hide with him for protection, but Enion
soon finds and kills her.

Enion
is reduced to wailing and singing. Her song has the power to either create madness
or to bring about an apocalypse. The actual song describes lost innocence and
the nature of pleasure. Enion can do nothing but wander and be disconnected from
Tharmas, even though Tharmas keeps trying to return to her. Albion, the original
essence, resigns from power as he was dying because of her wailing, and Urizen,
who replaces him, is terrified when he witnesses her. The wailing is used by both
Los and Enitharmon to divide Urizen from his Emanation, Ahania. In a human form,
Tharmas continues to seek her but he can only hate her. Eventually, they reconcile
enough for Tharmas to ask her to come back, but Enion had dissolved into just
a wailing voice. During the Final Judgment, Tharmas and Enion are reunited, and
the two become like children that are able to enjoy each other sexually. They
form an idealistic sexual unity. Eventually, Enion is restored to her form and
she joins the rest at Albion’s feast.

Appearances

Enion
is introduced in Vala, or The Four Zoas as her division from Tharmas begins the
work. The work describes their sexual and moral struggles. She is a jealous lover
and eventually hides from him. She is depicted as a wailing voice and is the essence
of sexuality, jealous, and physical passions. In Milton a Poem, she is described
as a wandering, wailing voice. In Jerusalem The Emanation of the Giant Albion,
Enion is questioned as being dominant, and the birth of Los and Enitharmon changes.
In the new version, Los protests about the action, but he cannot prevent it.

Enitharmon

From
Wikipedia, the free encyclopedia

Enitharmon
is a major female character in William Blake’s mythology, playing a main part
in some of his prophetic books. She is, but not directly, an aspect of the male
Urthona, one of the Four Zoas. She is in fact the Emanation of Los, also male.
There is a complex verbal nexus attached. The Zoa Tharmas has emanation Enion,
and Eni-tharm(as)-on is one derivation of her name. That should perhaps be read
in the inverse direction though, as a construction of the Tharmas/Enion pair’s
names. Within Blake’s myth, she represents female domination and sexual restraints
that limit the artistic imagination. She, with Los, gives birth to various children,
including Orc.


Background

It
is possible that the character Enitharmon was based on Blake’s wife, Catherine
Blake. In a letter from Blake to his friend Thomas Butts Jr on 22 November 1802,
he claimed that his place at Surrey had “Enitharmon’s bower”. S. Foster
Damon explained the name Enitharmon as a derivation or an elision of (z)enit(h)-harmon(y).
This is to be read in the light of the mirrored name Los (Sol = Sun in Latin).
He also suggested that the Greek anarithmon or ‘numberless’ as another possible
starting point for the name. Urthona is ‘earth-owner’. Enitharmon is not therefore
a simplistic Earth Goddess, but is also not disconnected from that role. Her name
can also be broken down to form the names of her two material parents, Enion and
Tharmas.

Character

Enitharmon
represents spiritual beauty and poetic inspiration. She is symbolised by the moon
and she is characterised by Pity. With Los, she is connected to the North in that
they were from Urthona, who dominates there. As poetic instinct, Enitharmon is
represented as being born of the sexual problems that happen during puberty. She
rules as the Queen of Heaven in Blake’s works. In Enitharmon’s connection to Urthona,
who is represented by the loins, she is a goddess that represents what cannot
be found within nature. In a natural cycle within Blake’s myth, there is a repeating
image of an Old Woman, who is represented by Rahab, Enitharmon, or Vala based
on which part of the cycles are being discussed. Enitharmon represents what Los
is trying to create, and he cannot have Enitharmon until he is able to complete
his duty. In her connection to space, she represents the psychological aspects
of unbound space upon the mind.

Unlike
the other Emanations, she is not a shade of a divine form, but serves as a material
wife of Los as well as his Emanation. Blake’s early myth describes how she was
born after Los gave a material form to Urizen, and she was born as the first female.
In his later myth, the sight of Enitharmon’s birth caused Urthona to fall and
be born from Enion. In that version, both Los and Enitharmon spring from Enion.
After her birth, Enitharmon declares that women will rule the world, with Man
being given Love and Women being given Pride. This would create within men a fear
of female dominance that would in turn bring them under control of the females.
In her sexual system, there are four parts: Manathu-Varcyon (desire), Antamon
(sperm), Theotormon (frustration), and finally Sotha (war). These are represented
by sexual desire being contained to Ethinthus (body), which leads to Leutha (guilt),
followed by Oothoon (frustration) and ends with Thiralatha (erotic dreams). In
the last stage, war is the ultimate result of sexual repression. This war is connected
to general war and to energy as a whole. Sex is supposed to lead to imagination
and love. Love is supposed to leave one to a higher state, and the perversion
of sexuality, in Blake’s view, leads to destruction.

The
Female Will is born from an object of affection refusing to give up its independence,
and the concept represents what prohibits an individual from being able to have
true vision. Under Eitharmon’s rule, representing the rule of the Female Will,
leads to Los and Enitharmon entering into a constant state of strife with each
other. However, the conflict also leads to Los pursuing her and the two procreating.
Urizen is able to take advantage of the struggling between the two by tempting
them with the ability to judge Luvah and Vala. This causes both of them to lose
the last bit of their innocence. Their union was thereafter filled with both envy
and jealousy. Their union also causes Enion to lament over the fallen state that
began from this. She is married to Los, and through their marriage Orc, the representation
of revolution, is born. This symbolises the relationship between art and revolution.
Los, however, grows jealous of Orc and chains him to a mountain. Enitharmon tries
to intervene but Los is unable to release Orc. Following Orc, Enitharmon gives
birth to many children. Of these, Satan, John Milton, and Mary are described as
her children.


Appearances

Enitharmon
appears in Europe a Prophecy, which compares her rule in regards to the fall of
Christian culture. Through her, oracles and the Olympian gods are brought back.
The bulk of the work is devoted to Enitharmon’s domination of the material world
and puts forth various sexual rules through religion. Blake describes how these
rules are errors found in orthodox Christianity. The Book of Urizen describes
how Los’s pity, Enitharmon, separated from him and became the first female after
Los created a form for Urizen. In Vala, or The Four Zoas, she is similar to eve
and she is the tempter of Los/Adam. The work also describes the connection of
poetic instinct and sexuality, along with pointing out how she and her daughters
are able to create various things, such as a body for various Spectres to be created.
Milton a Poem describes how Enitharmon gave birth to many children, which included
Milton himself. In the work, she is described as being connected to Space while
Los is connected to Time. In Jerusalem The Emanation of the Giant Albion, she
is connected to poetry, and she realizes that she must eventually vanish in the
end. Enitharmon is described as having a Looking Glass, which reflects the Eternal
world in the Material world. This image appears in the 99th illustration of Blake’s
to the works of Dante. The design shows the Queen of Heaven, who represents feminine
rule and the glass is of materialism.

Roleplaying

Originally
Posted by

Sepulchrave
II of the En World forums.

On
this Thread

Enitharmon, Marshal
of the Celestial Host.
Size/TypeHuge outsider
(Augmented, Celestial, Extraplanar, Good)
Initiative+32
Hit Dice50d8+1350
(1750 hp)
Speed100 ft.;
fly 300 ft. (perfect)
Armor
Class
116 (-2
size, +32 deflection, +24 Dexterity, +26 insight, +26 natural; flat-footed 92,
touch 90)
Base Attack/Grapple+50/+91
Attack+118 melee
(4d6+59/17-20, Shard of Thought)
Full Attack+118/+118/+113/+108/+103
melee (4d6+59 plus 3d6 divine/17-20, Shard of Thought)
Space/Reach15 ft./15
ft.
Special
Attacks
Smite
evil, spell-like abilities, spells, turn undead
Special
Qualities
Attunement,
change shape, darkvison 60 ft., divine elemental empowerment, DR 20/adamantine
and epic and evil, fast healing 20, greater teleport, immortal, immunities
(acid, cold, disease, electricity, fire, petrification, poison, sleep),
Low-Light
Vision
, planar travel, protective aura, regeneration 20, Spell
Resistance
75, tongues
SavesFort +106
Ref +103 Will +105
AbilitiesStrength 77
Dexterity 59 Constitution 65 Intelligence 62 Wisdom 63 Charisma 75
SkillsAppraise
+79, Balance +83, Concentration
+80, Diplomacy +197, Gather Information
+85, Handle Animal +85, Heal +79,
Jump +92, Knowledge (Arcana)
+79, Knowledge (Geography)
+79, Knowledge (hstory) +79, Knowledge
(nature) +85, Knowledge (nobility)
+79, Knowledge (religion)
+79, Knowledge (the
planes
) +79, Listen +79, Perform (oratory)
+85, Perform (sing) +85, Search
+79, Sense Motive +179, Spellcraft +85, Spot +79, Survival
+79 (+85 on other planes), Tumble +83
FeatsCleave,
Combat Reflexes, Devastating Critical, Dire Charge, Dodge, Epic
Spellcasting
, Great
Cleave
, Great
Smiting
, Improved
critical
(greatsword), Improved
Initiative
, Improved
Sunder
, Leap Attack, Mobility,

 

Overwhelming Critical,
Power Attack, Power Critical, Spring Attack, Superior
Initiative
, Weapon Focus (greatsword)

EnvironmentHeaven
(Any Sphere)
Challenge
Rating
65

Combat

Attunement (Sp):
Enitharmon may commune at will as a swift action.

Change Shape (Su):
Enitharmon can assume the form of any small or medium humanoid.

Devastating
Critical
:

Creatures who suffer a critical hit from Enitharmon’s greatsword must
make a Fortitude saving throw (DC 68) or die.

Divine Elemental Power
(Ex):
When Enitharmon uses a spell or spell-like abilitiy with an energy
descriptor, all damage from such spells or abilities is considered divine in
nature for the purpose of bypassing resistances and immunities; target creatures
who possess a special vulnerabiliy to a particular energy type still retain
it.

Greater
teleport
(Sp): Enitharmon can use this ability
at will (Caster Level 50th).

Immortal:
Enitharmon is immortal, and does not need to eat, sleep or breathe.

Planar Travel (Sp):
Enitharmon can move at will between any two planes. Treat this as a
plane
shift
, but Enitharmon may only transport himself and any equipment he
carries, and he never arrives off-destination. Caster Level 50th.

Protective Aura (Su):
This acts as a double-strength magic
circle against evil
and a lesser globe of
invulnerability
with a 20-ft. radius. The aura can be dispelled, but
Enitharmon can create it again as a free action on his turn. Caster Level 50th.

Regeneration (Ex):
Enitharmon takes normal damage from epic evil-aligned weapons and from
spells with the evil descriptor.

Smite Evil (Su):
Against evil creatures, Enitharmon gains a +32 bonus to all attack
rolls and deals an extra 100 points of damage with each successful hit.

Spell-Like Abilities:
At will – aid, animate
objects
, continual flame, dimensional
anchor, greater dispel magic,
holy smite (DC 46), imprisonment
(DC 51), invisibility (self only), Lesser
restoration
, remove curse, remove
disease
, remove fear, Resist
Energy
, summon monster VII, speak
with dead
, waves of fatigue;

3/day – blade barrier
(DC 48), Earthquake (DC 50), heal, mass charm monster (DC 50), permanency, resurrection,
waves of exhaustion;

1/day – greater
restoration
, power word blind,
power word kill, power
word stun
, prismatic spray (DC
49), wish.

Caster level 50th. The
Save DCs are Charisma-based.

The
following abilities are always active on Enitharmon’s person as the spells (caster
level 50th): detect evil, detect
snares and pits
, discern lies (DC 46), see invisibility,
true seeing. They can be dispelled, but Enitharmon can reactivate them as a free
action.

Spells:
Enitharmon spontaneously casts spells as a 50th-level Cleric (6/10/10/10/10/9/8/8/8/7;
DC 36+ spell level). He may cast any spell on the Cleric spell list, and any
spell from the Glory, Strength, War and Wrath domains. He also has access to
any [sanctified] spell. He foregoes the need for any foci or material components.
For purposes of spells which have an XP requirement, assume Enitharmon has an
XP cushion of 20,000XP per week.

tongues
(Su):
Enitharmon can speak with any creature that has a language, as
though using a tongues spell (caster level 50th).

Turn
undead (Su):
Enitharmon can turn or destroy undead at will as a 50th-level
Cleric. He gains a +6 synergy bonus to his turning checks.

Equipment

Shard
of Thought (Paradigmatic Artifact):
Enitharmon’s
weapon is a +10 ghost
touch
holy speed fiery blast greatsword: the flames generated
by the sword are divine in nature, and not subject to resistances or immunities.
Shard of Thought automatically bypasses all damage reduction. When brandished
(a standard action), the weapon causes evil creatures within line of sight to
become panicked for 4d6 rounds unless they succeed at a Will saving throw (DC
67); those who succeed are still shaken. Enitharmon’s Charisma and Hit Dice determine
the Save DC. Caster Level 50th.

Seal
of Truth and Agency (Paradigmatic Artifact):
On his brow, Enitharmon
bears a complex and shifting motif wrought from raw Empyrean Fire; a living symbol
of his legitimate authority, bestowed by Oronthon. Any celestial, fiend or worshipper
of Oronthon immediately recognizes the symbol and its significance. The Seal of
Truth and Agency grants a +20 enhancement bonus to all ability scores, a +20 resistance
bonus to all saving throws, and a +100 competence bonus to all Diplomacy and Sense
Motive checks. Enitharmon’s stat block reflects this.

Luvah

From
Wikipedia, the free encyclopedia

In
the mythological writings of William Blake, Luvah is one of the four Zoas, who
were created when Albion, the primordial man, was divided fourfold. He represents
love, passion, and rebellious energy. His Emanation (female counterpart) is Vala;
his fallen form is Orc. Throughout Blake’s mythological system, he is opposed
to Urizen, the representation of reason. He is also connected to Jesus, who takes
upon his form as the being of love after Luvah falls and turns to a being of hate.


Character

Luvah
represents a generative aspect that is connected to experience. In Blake’s system,
Luvah, the third Zoas, represents emotion as the Prince of Love, and his name
may be connected to the word “lover”. Love is the supreme emotion, and
it is connected to all others, including hate. Luvah is connected to the heart.
He is connected to Jesus, and the Incarnation is the result of Luvah transforming
into hate; Jesus replaced Luvah’s physical form after Luvah descended from his
position. As such, Jesus is the physical aspect of Love and he suffers what Luvah
would suffer. When Urizen witnesses Jesus in that form, he becomes upset and afraid
of the new Luvah.

Luvah’s
emanation, Vala, originated as two innocent individuals that were separated by
Vala being impregnated by Albion. From that union, Urizen was created. When the
Fallen Man looked upon Vala, she was separated from Luvah, and she hid from him.
Urizen joins with Luvah in order to control mankind, with Urizen seeking to dominate
the imagination and would allow Luvah to dominate reason. However, Luvah does
not accept but does steal Urizen’s horses, which sparks a war between the two.
During this time, Urthona falls and divides. Urizen soon withdraws from the war,
and Tharmas strikes down both Luvah and Vala, which causes them to both fall.
As this happens, Albion is brought low, and Urizen becomes the ruler. Urizen punishes
Luvah by placing him within the Furnaces of Affliction, with Vala feeding the
furnaces. The furnaces causes Luvah to melt, and Urizen uses the metallic remains
of Luvah to create the universe, which represents reason’s solidification of emotions.
This leads to Luvah, in the form of a cloud, constantly tormenting Albion, which
represents suppressed desires. Albion opposes Luvah, and he falls. Soon, he is
born from Enitharmon in the form of Orc. Thus, he transitions from Love into Hate.
From him comes wars, including the Napoleonic Wars, and he stars wrecking the
body of Albion.

After
Orc is born, the jealous Los uses the Chains of Jealousy to bind Orc upon a mountain.
While bound, his imagination is able to exist in a cave located in Urizen’s kingdom,
which wakes up Urizen. When Urizen seeks out Orc, Orc is freed as he changes into
a serpent. The form is corrupted and he is turned into a satanic image. Orc spends
his time rebelling against Orc, and it is only when Urizen stops fighting Orc
that Orc is able to become Luvah.

After
the Final Judgment, Albion makes Luvah the servant of Urizen, which represents
reason controlling love and ensuring that there is only creation. Albion tells
Urizen to let Luvah rage enough to allow for the hate to burn out. Luvah’s role
in the harvest, he is a singer and is able to unite with Vala before joining Albion
only to be cast away until the Zoas can all join with Albion.

Appearances

The
first appearance of Luvah is in The Book of Thel, but he is not mentioned again
until Vala, or The Four Zoas. The history of Luvah’s origins, war on Albion, and
his involvement as Orc are described in Vala along with descriptions of his return
to his Luvah state after the Final Judgment. Blake’s Milton a Poem describes various
aspects of Luvah’s story, including his tomb at Golgonooza where the dead Luvah
resided. In Jerusalem The Emanation of the Giant Albion, Luvah is connected with
the various warring individuals through Los’s dividing of the world of life and
death. The work also explains how Jesus allowed for Luvah to fight against Albion,
as Luvah’s hate must be expressed before it can be purged.

Orc

Orc emerges from creative fires to challenge the forces of imperialism in plate 12 of America a Prophecy

Orc
emerges from creative fires to challenge the forces of imperialism in plate 12
of America a Prophecy

From
Wikipedia, the free encyclopedia

Orc
(a proper name) is one of the characters in the complex mythology of William Blake.
Unlike the medieval sea beast, or Tolkien’s humanoid monster, his Orc is a positive
figure, the embodiment of creative passion and energy, and stands opposed to Urizen,
the embodiment of tradition.

Orc
is described by Blake as ‘Lover of Wild Rebellion, and transgressor of God’s Law’.
He symbolizes the spirit of rebellion and freedom, which provoked the French Revolution.

Background

The
name Orc is possibly an anagram of the word cor (heart) in that he was stated
in Blake’s myth to be born of Enitharmon’s heart or orca (whale) because he sometimes
takes the form of a whale. Orcus is also the Latin word for Hell, and Orc is presented
as a rebellious, Luciferian character. He was created to serve as Blake’s analysis
of the revolutions in America and France.


Character

In
Blake’s myth, Orc is seen as the first child of Los with Enitharmon and sometimes
either replaced in that position by another or not mentioned as a child at all.
In the Four Zoas, the children of Los represent a just form of wrath, pity, frustrated
desire and logic, which serve as an analysis of Orc’s being. Orc’s creation was
based on the split between Los and Enitharmon, and he transformed from a worm
into the form of a serpent. Based on Orc’s relationship with Enitharmon, there
is a split between him and Los. Los uses the Chains of Jealousy to bind Orc upon
a mountain, and Orc becomes part of the rock. While bound, his imagination is
able to exist in a cave located in Urizen’s kingdom, which wakes up Urizen. When
Urizen seeks out Orc, Orc is freed as he changes into a serpent. The form is corrupted
and he is turned into a satanic image. Orc spends his time rebelling against Orc,
and it is only when Urizen stops fighting Orc that Orc is able to become Luvah.

Orc
is a force of revolution, revival, and of passion who is the polar opposite to
Urizen, the cruel and tyrannous god. Orc is the force of new life in the cycle
and Urizen represents the older version of Orc that dies at the end of the cycle.
As such, Orc and Urizen appear in their evolution from one to the other in the
“Seven Eyes of God”, or the seven historical cycles of Blake’s myth.
Each cycle is divided into three phases, which begins with Orc’s birth and then
describes Orc’s binding, which is connected to the time in a human’s life where
they are at their imaginative greatness. This is followed by the creation of abstract
religion and a view of the universe as mechanical. This is then followed by rationalism,
which led to Aristotle, Bacon, Locke, and other empirical based scientists. The
second phase is where Urizen takes over the fallen world, which is represented
by the Enlightenment in the seventh cycle. This leads to materialism, the death
of the soul, and warfare. This phase ends with prophets declaring that Orc will
appear. The third phase describes a Orc’s crucifixion and a return of human life
to nature.

The
character Orc is connected to the Biblical serpent, the image of being hanged
on a dead tree, and to the sun. Of the latter, Orc’s hair is like the sun and
connects Orc to other stories, including that of Samson or of the death of the
god Balder. Likewise, the tree image is similar to Odin‘s being speared and hanged
upon a gallows-tree as a sacrifice. Since Odin is the a hanged god and a tyrannt,
the image further connects the image of Orc with that of Urizen. Another image
connected to Orc is that of the spear, a phallic symbol connected to the imagination.
Orc uses the spear to attack Urizen, and the image also connects Orc to both Jesus
and Odin as sacrifices to themselves. Like Jesus, Orc is also born around the
winter solstice, a time when the sun is unable to warm the cold earth.

Orc
is also connected to the inner workings of the human self. After Blake renounced
the Orc men, the revolutionary leaders who he thought were like Orc, he distrusted
all hero worship. Likewise, Blake believed that the imagination, represented by
Orc, was purely mental and could not have the same for as a physical thing. Instead,
it was part of the divine energy in man. As such, Orc is an internal life cycle
that ends with a rebirth of the self. In general, Orc represented the freedom
of the self in a Promethean manner, which connects Orc to Milton’s version of
Satan. In Blake’s version, the true Satan was God, who created the physical reality,
and the Satan/Orc figure represents the human desire which is transformed into
accepting of law and reason. As such, Blake dismisses Milton’s epic as lacking
a hero and keeps Orc from being seen as a heroic figure.


Appearances

In
America a Prophecy (1793), Orc is described as a threat to the British colonies
in America and to society. The angel of Albion sees Orc as an antichrist figure,
and Orc views the prince of Albion as a dragon. During the work, Orc has an apocalyptic
vision where the empire is destroyed and the oppressors of the world are stopped.
Following the vision, Orc is able to get the Americans to rise up in revolution
and they begin to attack their oppressors through a mental revolution. In Europe
a Prophecy (1794), Orc is connected to the revolution in France but it is Los
who calls the people to revolution. In The Song of Los, Orc provokes thought within
the second half, “Asia”, which unsettles the kings of earth, and Orc
is described as raging across Europe. In these continental works, Los and Orc
are seen as describing an apocalypse that would result in freedom.

In
The Book of Urizen, the African civilization ends along with the third cycle,
describing Adam and Eve, ending. Orc, symbolized as the serpent in the Garden
of Eden, is cursed. This is followed in The Book of Ahania of a new cycle beginning
in Asia, which parallels Exodus. Within the Israeli civilization, an Orc and an
Urizen figure battles against each other with Orc representing a pillar of fire
that guides the Israelites during the night while Urizen is a pillar of cloud
that seeks to mislead them. Urizen is able to win over the Israelites by giving
them the ten commandments and moral laws. These commandments are attacked by Orc
in America a Prophecy.

Later
in Vala, Orc describes the divided aspects of the soul, which, in Blake’s mythological
system, God has a twofold essence that is capable of good and evil. This idea
parallels Blake’s personal belief that there was a division within himself. In
this later work, Orc is born during the winter solstice and Urizen begins to search
for him. Urizen, during this time, becomes witness to the life cycles that Orc
is part. When Urizen finally reaches Orc, the view of the Orc cycle is described
in a deistic manner, which is opposite to how Blake believed is true. Urizen believes
that Orc is connected to chaos and seeks only predictability in life. He sought
to do so by creating laws, and mankind would be enslaved under the laws as uniformed
individuals. Urizen crucifies Orc, in the form of a serpent, and war spreads over
the land.

In
The Four Zoas this is over-ridden: there the parents produce the four sons Rintrah,
Palambron, Bromion and Theotormon. This is a double-dialectical analysis, rather
than an inconsistency as such.

On
the other hand Orc is connected to Luvah in The Four Zoas VIII.

Tharmas

From
Wikipedia, the free encyclopedia

In
the mythological writings of William Blake, Tharmas is one of the four Zoas, who
were created when Albion, the primordial man, was divided fourfold. He represents
sensation, and his female counterpart is Enion, sexuali urges. He is connected
to the God the Father aspect of the Christian Trinity and is the begetter of Los.
Tharmas is mostly peaceful, and flees during most of his fights with Urizen. He
is depicted in various ways ranging from a youth with wings to an old bearded
man.

Character

Tharmas
is both the last Zoas described but also the first in the number. His aspect as
a Zoas is Sensation. As connected to the Trinity, Tharmas is seen as God the Father.
As a body part, he is the loins with his Emanation/mate Enion representing sexual
urges. He is also represented as a shepherd. Tharmas is connected to the direction
point West and his fallen state is to mark the Circumference of the world. His
elemental connection is to water and, in turn, to time. His artistic aspect is
Painting and his particular sense is Tongue, which represents taste and speech.
He represents both free speech but also false speech. In his divine state, Tharmas
is peaceful and idyllic. However, during war the among the Zoas, he fights until
he is defeated and falls. His name is possibly a back formation from their daughter’s
name, Enitharmon. Tharmas is the unifier of the Four Zoas. When Tharmas vanishes,
he is replaced by chaotic nature.

As
connected to the body and sensation, his fallen state’s separation from Enion/sex
causes him to turn into the spectre Eternal Death. Through Enion, he creates poetic
instinct along with the children forms of Urthona/Los and Enitharmon. When separated
from Enion, she creates the “Circle of Destiny”, and, with it, the Gate
of the tongue, which Tharmas is connected to, was closed. He is at conflict with
himself, and through the conflict he becomes human. This caused him to hate, and
he feels thwarted by being unable to have sex. He seeks out Urthona/Los and Enitharmon
to redeem the universe, but Los refuses and Tharmas separates Urthona/Los and
Enitharmon, which causes Urthona to become the spectre Los. However, he soon reunites
them. Tharmas battles against Urizen, but normally ends up fleeing. During the
Last Judgment, Tharmas and Enion are seen as two children and are able to experience
and idealistic sexual relationship. They are also able to assume their divine
forms and Tharmas awakens both Los the Eternal Prophet and Albion the Eternal
Man. They join in with the harvest after the Final Judgment.

Appearances

As
part of Blake’s later myth, Tharmas appears Milton with a description of Tharmas
relationship with Los and the building of Golgonooza. Tharmas creates the foundation
but leaves as Los sets about rebuilding the universe. The Four Zoas describes
Tharmas’s desputes with Urizen and Tharmas constant fleeing from various fights.
The work also reveals his origins along with his role within the Last Judgment.
Jerusalem defines other aspects of Tharmas, including his connection to the tongue
and speech. Tharmas also assumes many forms in Blake’s various designs and illustrations.
He is depicted in the designs as a young, winged man that lays near the Sea of
Time and Space. He is in despair. The designs depicting him in Jerusalem show
a bearded man that is shaping the circumference of a sphere while Enion is chasing
after the young Los and Enitharmon. In the “Circle of Life” design,
he is young and without a beard, and, in Blake’s illustrations of Genesis, he
has the head of a ox.

Urizen

Urizen is depicted in Blake's watercoloured etching "The Ancient of Days".

Urizen
is depicted in Blake’s watercoloured etching “The Ancient of Days”.

From
Wikipedia, the free encyclopedia

In
the complex mythology of William Blake, Urizen is the embodiment of conventional
reason and law. He is usually depicted as a bearded old man; he sometimes bears
architect’s tools, to create and constrain the universe; or nets, with which he
ensnares people in webs of law and conventional culture. Originally, Urizen represented
one half of a two-part system, with him representing reason and Los, his opposition,
representing imagination. In Blake’s reworking of his mythical system, Urizen
is one of the four Zoas that result from the division of the primordial man, Albion,
and he continues to represent reason. He has an Emanation, or paired female equivalent,
Ahania, who stands for Pleasure. In Blake’s myth, Urizen is joined by many daughters
with three representing aspects of the body. He is also joined by many sons, with
four representing the four elements. These sons join in rebellion against their
father but are later united in the Last Judgment. In many of Blake’s books, Urizen
is seen with four books that represent the various laws that he places upon humanity.


Character

In
Blake’s original myth, Urizen, the representation of abstractions and is an abstraction
of the human self, is the first entity. He believes himself holy and he sets about
establishing various sins in a book of brass that serves as a combination of various
laws as discovered by Newton, given to Moses, and the general concept of deism,
which force uniformity upon mankind. The rest of the Eternals in turn become indignant
at Urizen turning against eternity, and they instill these essences of sin within
Urizen’s creation. This torments Urizen, and Los soon after appears. Los’s duty
within the work is to watch over Urizen and serve as his opposition.

In
terms of Blake’s Orc cycle, Urizen serves as a Satanic force similar to Milton’s
Satan. After Urizen defeats the serpent/Orc figure in the Garden of Eden story,
the Orc figure, in the form of Urizen’s son Fuzon, battles against him in a story
based on Exodus. Urizen, as a pillar of cloud that hinders the Israelites in their
journey home, battles against Fuzon, as a pillar of fire that guides them by night.
Eventually, Urizen is able to destroy his rebellious son and impose laws upon
the Israelites in the form of the Ten Commandments. This also leads to a death
of the Israeli culture, and the Israelites under Urizen are imprisoned in a similar
manner to how they were under the Egyptians. Symbollically, the Orc cycle describes
how Urizen and Orc are part of one unified whole with Urizen representing the
destructive and older essence while Orc is the young and creative essence.

In
Blake’s later myth, Urizen is one of the four Zoas, the fourfold division of God.
The other three represent aspects of the trinity and he represents the fallen,
Satanic figure although he is also the creator figure. Among the Zoas, he represents
the south and the concept of reason. He is described as what binds and controls
the universe through creating laws. He is connected to his Emanation known as
Ahania, the representation of pleasure, and he is opposed to the Zoas named Urthona,
the representation of Imagination. His name can mean many things, from “Your
Reason” or a Greek word meaning “to limit”. Urizen originates in
the beginning of Blake’s version of Genesis. He was the entity created when a
voice said that light should be born, and he was the fourth child of the characters
Albion and Vala. He is said to represent the Heavenly host, but he experiences
a Satanic fall in that he desired to rule. He is motivated by his pride and becomes
a hypocrite. When Albion asks for him, Urizen refuses and hides, which causes
him to experience his fall. After his fall, Urizen set about creating the material
world and his jealousy of mankind brought forth both Wrath and Justice.

In
the material world, he had Steeds and a Chariot of Day that were stolen from him
by Luvah. This occurred because he, reason, sought to take over the Northern lands
of Luvah, Imagination. After setting to take over Imagination, Luvah’s stealing
of the horses, which represented instruction, showed how emotion could dominate
over reason. After Luvah falls and becomes Orc, Urizen tries to regain his horses
but can only witness them bound. Eventually, the horses are returned to him after
the Final Judgment.

Within
the early works, Urizen represents the chains of reason that are imposed on the
mind. Urizen, like mankind, is bound by these chains. Additionally, these works
describe how Newtonian reason and the enlightenment view of the universe traps
the imagination. The poems emphasis an evolutionary development within the universe,
and this early version of a “Survival of the fittest” universe is connected
to a fallen world of tyranny and murder.

Urizen’s
daughters started as the children of light and are possible images of either the
planets or of the stars. After his fall, they gain human form. Three of his daughters
are Eleth, Uveth and Ona, which represent the three parts of the human body. Together,
they also organize the waters of Generation, they are the creators of the Bread
of Sorrow, and read from the Book of Iron. At the Last Judgment, they watch over
Ahania. His sons are differently organised, in different poems: as Thiriel, Utha,
Grodna, Fuzon, aligned with the four classical elements; or as twelve, aligned
with the signs of the Zodiac, and builders of the Mundane Shell and seek to keep
mankind from falling. In Blake’s early myths, they dwell in various cities and
do not abide by Urizen’s laws; Fuzon directly rebels against Urizen, is able to
cut Urizen’s loins, and is crucified for his actions. In later versions of the
children, they are wise and dwell with Urizen. They, with Urizen, fall after Luvah
takes over Urizen’s realm. After their fall, they are tortured in hell, and Urizen’s
creation of science is seen as his domination over them. However, the four sons
are placed in charge of Urthona’s armies and rebel against Urizen’s rule. During
the Last Judgment, the sons get rid of their weapons and celebrate Urizen’s return
to the plow, and they join together for the harvest.

Urizen
is described as having multiple books: Gold, Silver, Iron, and Brass. They represent
science, love, war, and sociology, which are four aspects of life. The books are
filled with laws that seek to overcome the seven deadly sins. He constantly adds
to the works, even when he faces his opposition in Orc, but the books are destroyed
in the Last Judgment. The Book of Brass sets forth Urizen’s social beliefs that
seek to remove all pain and instill peace under one rule. The attempt to force
love through law encouraged the Eternals to put forth the Seven Deadly Sins that
Urizen hoped to prevent. The Book of Iron was lost in the Tree of Mystery, and
represents how Urizen can create wars but cannot control them.


Appearances

The
character Urizen is first directly mentioned in Blake’s “A Song of Liberty”
(1793) where he is first described in his dispute with Orc. He is described as
a “starry king”. In To Nobodaddy, he is given the title “Father
of Jealousy” and he is an enslaver. In America a Prophecy, he is the evil
God who rules during the Enlightenment. The work also describes how Urizen created
the world. This was followed by the Songs of Experience (1794) where he appears
as the creator of the Tyger and in many of the poems: “Earth’s Answer”,
“The Tyger”, “The Human Abstract” and “A Divine Image”.He
is mentioned later that year in Europe a Prophecy and it is in the work that Urizen
is freed from his bounds and he opens the Book of Brass in response to the American
revolution.

In
the Book of Urizen, Urizen is an eternal self focused being that creates itself
out of eternity, and, it is only Urizen, the representation of abstractions and
is an abstraction of the human self that exists in the beginning. Eventually,
he creates the rest of creation but is tormented from the rest of the Eternal
essence. Urizen is seen as the essence of the eternal priest and is opposed by
Los, the eternal prophet. Parts of the story were later revised in The Book of
Los and The Book of Ahania: The Book of Ahania describes Urizen’s relationship
with his son Fuzon, and the Book of Los (1795) describes Urizen’s creations from
Los’s viewpoint. The Song of Los (1795) describes how Urizen’s laws are given
to humanity and their destructive effects. The work ends with Orc’s appearance
and Urizen weeping.

Urizen
appears within Blake’s illustrations of Job as an image of Apollo. He and his
realm are described in Blake’s Milton a Poem, and he is said to have a throne
of silver/love. His realm included his children and was surrounded by justice
and eternal science. The work also describes Urizen’s Satanic fall. The Urizen
of Milton is in the form of reason, and it is he that Milton follows. He appears
again in the image “Milton’s Dream” as illustrated for Il Penseroso.
In the image, Urizen is with images of despair and is interfering with the image
of the true God.

In
Vala, or The Four Zoas, Urizen was said to have been born as the son of Albion
and Vala, and is the fourth son. He was made the leader of Heaven’s host and commanded
the material sun. The work also describes his fall. Urizen appears in Jerusalem
The Emanation of the Giant Albion in a form similar to the previous works. Urizen
is the organiser of the universe while Los is the forger. He creates Natural Religion,
and, in his returned form after Albion awakes, he is a farmer.


Derivation

Urizen
has clear similarities with the creature called the Demiurge by Gnostic sects,
who is likewise largely derived of the Old Testament god (more specifically, like
Blake’s Urizen, the demiurge is a radical remodelling of that figure achieved
by expanding that figure’s original contextual setting, or by removing him to
one that is almost completely new). Speculative Freemasonry is another possible
source of Blake’s imagery for Urizen; Blake was attracted to the Masonic and Druidic
speculations of William Stukeley. The compass and other drafting symbols that
Blake associates with Urizen borrow from Masonic symbolism for God as the “Great
Architect of the Universe”.

Urthona

From
Wikipedia, the free encyclopedia

In
the mythological writings of William Blake, Urthona is one of the four Zoas, who
were created when Albion, the primordial man, was divided fourfold. Specifically,
he is the Zoa of inspiration and creativity, and he is a blacksmith god. His female
counterpart is Enitharmon. Urthona usually appears in his ‘fallen’ form, that
of Los.

Character

Urthona,
meaning “earth owner”, is one of the Four Zoas and represents both the
north and imagination within the individual. He is aligned with the Christian
Trinity in the aspect of the Holy Ghost and is opposed to Urizen, the Zoas of
reason. He is the last to be created, and his corresponding element is Earth.
He is the forge god and is the creator of forms and war. In terms of senses, he
is represented by the ear, in terms of art he is represented by poetry, and in
his fallen form his art is religion. He, along with Luvah, are the guardians of
the gates of heaven. Unlike the others, he does not have a direct Emanation counterpart.
Instead, Enitharmon is an emanation from his fallen state, Los. In his original
state, Urthona represents the loins of the body. As a blacksmith, Urthona is connected
to the animal the Mole, which is symbolic of mining aspects.

Urthona’s
place within the fall is as a blacksmith who prepares the items for divine farming,
and he is able to realize the problems of the Eternals struggling against each
other. When Luvah and Urizen went to war over the state of mankind, Urthona was
split from Los, a Spectre of his form, and he became a serpent. The Urthona form
joined with the unconscious mind called Nadir. He has four aspects in the fallen
world, with Los being Urthona’s aspect of humanity, Enitharmon as the Emanation
connected to Los, a Spectre form, and a Shadow form. When Los dies and destroys
both the sun and the moon, Urthona is reborn but then disappears. At the time
of the Last Judgment and the feast in heaven, Urthona is already present when
the others arrive. He is after connected to the god Vulcan, and he is the miller
during the harvest before he becomes the baker of the “Bread of Ages”.
In the end, he is united with all of his aspects.


Appearances

Urthona
appears on his own in many works. An early mention of Urthona comes in “A
Song of Liberty” that describes how Urizen is buried underneath Urthona’s
realm. In America a Prophecy, the figure of the Shadowy Female is described as
one of his daughters and Orc, as a serpent, is wrapped around Urthona’s pillars.
In Europe a Prophecy, Los describes that Urthona is resting while Urizen is free
from his chains. During most of the poem, Los is not present while Enitharmon
dominates the world.

Urthona’s
background and origins are described in Vala, or The Four Zoas. The work describes
the relationship between Los and Urthona and how the Emanations of Urthona and
Los operate. It also describes his regeneration at the Final Judgment. Blake’s
poem Milton a Poem describes aspects of Urthona, such as his connection to the
North and to Poetry. The work also describes Urthona as dark. In Jerusalem The
Emanation of the Giant Albion, Blake explains how Urthona is divided within the
world and elaborates on other aspects of his history.

The Nameless Adversary

The
Silver Book

Crime
and Punishment

Author Keith Baker

Series Campaign Style

Publisher Atlas Games

Publish date 2003

Pages 160

ISBN {$isbn}

OGL Section 15 cap

Content Puller {$content}

Netbook
can be found on the following website

The
Grand OGL Wiki

The
material below is designated as Open Game Content.

Alignment:
Lawful Neutral
Domains: Knowledge, Justice, and Law
Typical
Worshippers:
Justices, politicians

Description:

“In
the first days of the world the gods fought one another, and the battles in the
heavens were mirrored on the earth. There was no justice, no order; all was chaos
and confusion. Finally the creators of the world gathered the lesser gods before
them. The lords of creation brought forth a silver book, and on its pages they
inscribed the laws that would govern both gods and men.” This is the doctrine
of the priests of the Silver Book. According to legend, the Book outlasted the
gods who created it; it has existed through many ages of creation. With every
age, new gods have added to the book; it contains all the laws that have ever
been and ever will be. The priests of the Book believe that laws are the cornerstone
of civilization, regardless of what those laws are. These priests spend most of
their time traveling, studying the laws of different nations and helping young
kingdoms develop new laws. They are widely respected as impartial mediators, and
in some kingdoms priests of the Book are authorized to act as itinerant justices.

The
priests of the Silver Book worship the Book itself; while inanimate, the Book
is a sentient force and the embodiment of the law. The Silver Book has no overt
agenda; it is a resource, a source of order and inspiration that will guide the
world for many ages to come. The symbol of the deity is the Silver Book itself.
Its favored weapon is a quarterstaff with a silver band on each end.

Witches
Patron’s

The
Goddess

Witches see all Goddesses
as an aspect of the divine, one Goddess is not more powerful than another. To
the witch the Goddess is the same whether she called Artemis,
Hecate, Kali or
Inanna. The name or method of worshipping the
Goddess is not as important as the role the witch fills for the Goddess. Because
of this belief the witch may be of any alignment, she can even differ in alignment
from her Goddess. So it is not unbelievable that a Chaotic Good witch could
worship Kali, a Chaotic Evil Goddess. This witch
might be worshipping the creative power of Kali,
or her aspects as an earth mother, or even the vengeful slayer of demons. A
witch will not see this as a contradiction. The Goddess is also seen as the
overriding female principle, a divine child, mother and crone.

The
God

The
Horned God or the Black Man is the Goddess’ male counterpart. He, however,
is not worshipped directly but His name is used in the rituals and He is equally
as important. The Horned God is not a devil or a demon, but something much older.
He corresponds to Cernunnos, the Leader of the
Wild Hunt for druids. He is also known as Osiris,
Apollo, Shiva or Damuz.

He
is the lord of life, death and the underworld. Being the God of the Sun to the
Goddess of the Moon as he alternates with her in ruling over life and death. With
her he cooperates in continuing the cycle of life, death and rebirth, or reincarnation.
His own life is said to be circular. The Horned God is born at the winter solstice,
marries with the Goddess at Beltane (May 1), and dies at Samhain. His death represents
a sacrifice to life.

Name
of the Goddess

The
Goddess is known by many names, but each is but an aspect of the true goddess.
What follows is a listing of Goddesses from Earth’s mythologies. In each
case a possible or likely alignment is included as well as areas of domains for
clerics and witch coven spells. Descriptions of that Goddess’ coven might
also be included.

Artemis

Astartë

Athena

Bast

Brigit

Cardea

Cerridwen

Danu

Demeter

Diana

Eir

Gaea

Hathor

Hecate

Hel

Hestia

Holda

Inanna

Isis

Kali

Lilith

Lovitar

Mabd

MorrĂ­gan

Rhiannon

Tiamat

Tlazolteol

Author unknown, Copied from the Codex Borgia 15th century.

Author
unknown, Copied from the Codex Borgia 15th century.

Aztec
witches who worship Tlazolteol, the Goddess of vice, are often tantric or malefic
witches. They spend a great amount of time on their appearance and try to look
as desirable as possible. Once they have someone alone they will attempt to corrupt
or kill them. Most prefer to corrupt others. Bards speak of a particularly successful
witch of Tlazolteol who had been in the bedrooms of many of a particular country’s
politicians. Single handedly she had nearly toppled the government through jealousy
and deceit.

Tlazoteol
is also seen as a necessary evil. She takes in filth and sin so it may be disposed
of. It is this aspect that she is most often worshipped and served by her witches.
Confessing ones sins to her or to her witches, one would be purified of those
sins. Mothers in childbirth often called on her aid. Her witches, learned in all
manners sexual, are also skilled midwives and nursemaids, after all birth is a
natural consequence of sex. Her witches are believed to be adulterous and women
born under her sign (The Ocelot) were believed to become her witches.

She
is seen as lustful maiden, mother or priestess and crone, devourer of youth, depending
on her mood. She is always depicted nude in all of her aspects, as the Mother
she is seen having just given birth. She wears a gold and turquoise necklace and
her temples are andorned with gold bells. Of note she is also sometimes depicted
as wearing a conical “witch’s” hat.

Alignment:
CE or CN

Areas
of Influence:
Chaos, Feritilty, Trickery, Vice

Name
of the God

It
is no secret that much of witchcraft is Goddess focused, there is though a God
as well. Though he might get a secondary placement in some Traditions and ignored
altogether in others, He is to most witches equally important.

Listed
here are various Gods. Included in each listing are a description of that God,
likely alignments and Domains as well as the Goddess they are consort to.

Apollo

Cernunnos

Dagdha

Dionysius

Osiris

Other
Patrons

Witches
are not limited in the patrons they may seek. While most witches will have some
form of the Goddess and God (or just Goddess) as their patron, others can choose
other paths. Powerful spirits, local gods or even demonic patrons are not unknown.

Spirits

Voodoo
witches work with the Loa, or spirits. Animistic witces or shamans may invoke
the spirits of nature, animals or plants. Family witches often call upon the spirits
of departed family members and ancestors to aid them in times of great need.

Spirits
may come in a variety of shapes sizes and power. Some, like the voodoo Loa can
be as powerful as gods in their own right. Family and ancestral spirits might
be comparatively week, except under certain circumstances. Nature spirits have
power proportional to the aspect of nature they represent. As with the Goddesses
and Gods, GM are encouraged to use whatever spirits make sense for their world.

Demons,
Devils, and Fiends

"St. Catherine of Siena Besieged by Demons", tempera on wood, about 1500, National Museum in Warsaw Date about 1500

“St.
Catherine of Siena Besieged by Demons”, tempera on wood, about 1500, National
Museum in Warsaw Date about 1500

While
not gods, the foul things that reside in the infernal planes are powerful and
immortal, and they wish to control this realm as well as their own. To this end,
demons, devils and other fiends try to attract the young and entice them to become
their followers. The fiends look for consorts and worshipers among the humans.
Some humans seek out the beings from the Lower Planes for power over their brethren.

Devils
are most likely to have worshippers among the short-lived mortal races; the belief
being their lives are short and they have to gain power quickly. Demons tend to
attract non-human or even some humanoid types. Not due to any perceptions of power,
demons tend to be more alien in terms that the humanoid races can understand.

While
there are those that do worship and serve these creatures that are witches, most
are just common people who wish to rise up from their lot in life and see the
power of evil as a shortcut. To make matters more confusing, warlocks actively
seek demonic patrons for their powers and some diabolic and demonic cultists call
themselves “witches” even when they have nothing to do with witchcraft.
To add to the witch’s misery when a new religion moves into an area they
often demonize the indigenous and pagan beliefs. So a Goddess worshiped by witches
for thousands of years might suddenly become a demon or devil in the eyes of the
new religion, as was the case with the Goddess Astartë and the devil Astaroth.

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