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Chaosium Digest Volume 24 Number 01
Chaosium Digest Volume 24, Number 1
Date: Sunday, March 8, 1998
Number: 4 of 5
Contents:
A Kabbalist's Dream, Part Four (Erick-Noel Bouchard) FRENCH NEPHILIM
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From: Erick-Noel Bouchard <samedi@colba.net>
Subject: A Kabbalist's Dream, Part Four
System: Nephilim
SECOND SONG: THE LABYRINTH
Finding the labyrinth is an easy task once a guide has been
found. Every wanderer knows where the valley of Saadi lies, four days
south of Istanbul. Legends say it used to be a river dale long ago
that dried up after a peculiarly violent sand tempest ages ago. Deep
at the bottom of the valley lies a deep chasm which used to hold a
lake: a little water still remains in its depth, giving birth to a
well. Though used very little because of its location, the water's
well is known to be clear and fresh. Oddly triangular, the stone well
has been erected for centuries. Wise heroes might think of it as the
place where "ye sky has cried". The "triangle of dawn through ye keys
of justice" symbolises the well and its triangular shape. At dawn,
daylight strikes the well's inside walls, and they shine like gold for
a few moments. Should the three crystal pyramids be placed upon the
three corners of the well at this time, the light shall be reflected
into them, directing a bright stream of light to a stone a few hundred
steps further, revealing the hidden entrance to the labyrinth. At the
labyrinth's entrance, carved in Hebrew letters, a warning has been
issued to tomb robbers:
Behind These Walls Rises a Temple
Its Name is Not Known to Mortals
But its Wholeness is Unity of Ye Worlds
Purity Guides One's Revelation
Sin Guides One's Damnation
Where Ye Just Shall Find Truth and Wisdom
Where Ye Profane Shall Find Lies and Death
He Who Follows Ye High Voice Shall be Freed
He Who Follows His Depravity Shall be Chained
For Justice is Ye Gate of this Temple
For Here Sleep Ye Gates of Sohar
Through the Labyrinth
Malkuth
The labyrinth's entrance pierces into the rock's bare skin like an
open wound, dusted by the sand's softness. After a few paces the cave
leads to a square room where the floor has been carved into a diamond
symbol showing the east, west, north, and south. Four openings face
the four cardinal points, the cave's entrance facing south. North lies
a mighty portal of gold and silver, west lies a closed wooden
sarcophagus, whereas east reveals a small iron door, battered by the
centuries. Symbols have been drawn upon each of the thresholds,
commented by Hebrew sentences.
The northern threshold is tall and mighty, two imposing doors of
precious metals defended by demonic sculptures and warnings:
This Door Thou Shall Not Pass
For Behind it Awaits Lore to Mortals Forbidden
Whom is of the Living Cannot Know its Secrets
Beneath are Lies and Deceit
Above are Truth and Knowledge
Through it Begins the Union
These warnings are meant to guide the awakened into choosing the right
path. The northern passage, guarded by the sins of pride and greed, is
a way for the fool to find certain death. "Through it lies the union":
that is, the union of male and female, the passage to Yesod, the
second temple. Yet, "whom is the living cannot know its secrets"
suggests that the sarcophagus is the proper entrance...
Opening the golden door necessitates immense effort, as if all
strength was being absorbed by the smiling demons. Behind a huge
corridor bearing unlit torches leads to a huge treasure vault, padded
with gold and golden statues of pilgrims. After the path crosses a
small pool of water, an odd smell becomes obvious to those attentive
to such detail. It is liquid ether, an extremely flammable substance
which covers anyone who wishes to enter the vault. The attentive would
also find pulverised bone remains in the depths of the pool. The
pool's depth, for that matter, is about twelve palms. The vault's
interior is rich in jewels, statues, gold and silver, all covered with
a fine dust. (Any alchemist would recognise sulphur.) Its summit is
painted with representations of Moses receiving revelation at mount
Sinai: yet another advice to caution. At the vault's centre stands
erected a small monument, masked by a long purple cloth covered with
Hebrew letters. As purple represents purity, one can assume the cloth
hides impurity, and this statement is true, for beneath it is the idol
of a golden calf. The sulphur covering the place is not only a warning
to the demonic nature of the trap, but is also its tool of death. As
the cloth is lifted from the idol, a mechanism spouts a gust of fire
from the calf's mouth, setting aflame all objects within the
vault. From this death trap there is no escape, especially if one is
foolish enough to cross the "resting water" in the hope of
salvation. As the blasphemers' bones lay on the floor, more sulphur
drops to cover them and the jewels.
The southern threshold is engraved with tree-like symbols, the word
"Malkuth" written at its summit. Here opens the path to the material
world, the one from which the heroes have entered this temple. It can
be crossed without peril. Upon it have been inscribed the following
words:
This Door Leads to Ye Mortals' Ken
Crosses Here who Renounces Ye Quest
Both Ye Forsaken and Ye Chosen
In Ye Veils of Malkuth Find Peace
The eastern threshold, dominating the iron door, bears the following
inscription, in Hebrew:
This Door Leads to Equilibrum
Ye Narrow Path Between Life and Death
A Purgatory for Lost Souls
Ye Long Wait Begins Here
The iron door's surface, though battered by the centuries, is free for
adornment of any kind. It is hard to open, requiring an immense
strength or the combined efforts of two heroes. Behind it lies a
small, round, featureless room with stone walls. Opposite to the door,
six meters further, a small cavity opens in the walls, where two
snakeskin scrolls have been deposited. Reaching the scrolls is
problematic, as the latter half of the floor is a revolving trap. The
floor flips over when some fool crosses the latter half to reach the
parchment when an equivalent weight has not been applied to the former
half, hence "the narrow path between life and death". The unfortunate
victims falls a dozen meters below in a dusty cell where skeletons
repose, surely the remains of unwise tomb robbers. As the floor goes
back to its original position after the fall, the victim is trapped
here to meditate on her errors. "Ye long wait begins here..."
The western sarcophagus represents the arc of alliance, the reunion
between the mortal and the divine, life and death. It is carved
following Egyptian tradition and is crafted from wood. Upon its
surface the following words have been written, in ancient Egyptian
hieroglyphs:
This Door Leads to Ye Other World
None of Ye Living Walk its Paths
Yet Even Ye Dead Fear its Revelations
Ye Pure of Heart be Welcomed in Death
Ye Impure Fear for Fiery Damnation
Here can be found the door to the second temple, Yesod, if one is
faithful enough to dare being enclosed in the sarcophagus. No secret
panel can be found examining it. As the door closes on the faithful,
the sound of a gong rings and a curious thing occurs. The back side of
the sarcophagus rotates and the hero accessing the second temple's
entrance while a skeleton heavily damaged by fire takes his place. As
the sarcophagus is reopened, the hero's companions might be fooled
into believing he has been destroyed by fire. There is no way one can
go back to the first temple after passing through this path, nor can
one talk with comrades lef behind. A wise storyteller should not tell
the hero's fellows what happened to their brethren. Each entry in
Yesod should be an individual act of faith, the first step through
spiritual purification.
Yesod
As the heroes make their way into the second temple of Yesod, the most
sensibleshall experience the passage toward another realm of being,
halfway between matter and mind. Yesod is the place where the divine
body (Malkuth) unites with the divine mind (Tiferet), the mind itself
gloriously receiving luminance from the higher spirits of Intelligence
and Wisdom. Gateway between the physical and spiritual worlds, Yesod
is where unity is sought by purity: purity of the flesh as well as of
the mind. To attain the higher temples, a soul must first triumph over
sin within oneself, the flaws that deprive it from joining with the
eternal order of things.
Half corporeal, half luminescent, Yesod appears as a gigantic mountain
surrounded by mists. On the summit shines a blinding lights, hundreds
if not thousands of paces above. Pragmatic adventurers might think
their journey has lead them amidst a mountain range, kneeling before
this mighty stone giant. Wisest heroes might discover the truth, that
actually the gateway is a spiritual one--this world is but an aspect
of the Dreamlands that span across all eras and places. There appears
to be no other option than to climb.
This trek trough perilous terrain has dangers more menacing for the
soul than the body. At every step of their journey the heroes should
feel on the edge of falling into the fogged abyss, but the Storyteller
should not impose upon them trials other than moral. As Yesod can be
crossed only trough purity, temptation and desire are the tools by
which the corruption of chaos hopes to stir rebellion in the heroes'
hearts. The trials facing the climbers should be based upon their
personal desires, dreams, and ambitions. Be it from invisible demons,
the mountain, or from Yesod itself, visions appear to the heroes,
promising them fame, love, hope, or deliverance, should they let go of
their quest. Trials should get harder and harder. The first ones
should be fairly simple, before they slowly grow more difficult. For
example, a climber might face thirst, pain, and fatigue, then the loss
of his belongings as dark birds assault him. He might encounter
menacing winds, a peaceful cave inviting to rest, an abandoned
treasury, or a fabulous weapon set in the rock. Should our heroes be
more subtle, even more insidious trials are possible. Perhaps one of
his friends is going to fall off the cliff, or a loved one pleads for
help as foul entities torture her or him. Perhaps an angel or the like
offers him forgiveness, or a portal opens in the barren stone,
revealing a glowing palace.
As all of these are but illusions, any deviation from the path leads
to certain death. The more one listens to temptation, the harder they
are for him to overcome. On the contrary, should one but have in mind
the single goal of climbing, the trials, though always more
diabolically complex, should get easier to overcome. The Storyteller
should decide exactly what trials each hero or heroine shall face and
how they are to be overcome. There are but two ways out of Yesod:
death or salvation, succumbing or attaining the double portal above,
the twin doors of Hod and Netzah.
Hod
Upon the silver threshold of Hod have these words been inscribed, in
Hebrew:
Beyond Me Lies Ye Left Arm of Ye Universe
Where Rigour is Ye Light and Tradition Ye Way
Here Ye Pious Female Surrenders Her Will
Here She is Offered the Gift of Splendour
Most certainly, death awaits any male to cross this door. Once passed,
every trace of the mountain disappears, as if in a dream... but is
this reality or illusion? Now the courageous heroines (or foolhardy
heroes!) who ventured in Hod shall face their own fears as their
darkest enemy. Down a narrow path, a small but deep room reveals
itself, enclosed within four walls. The four walls form a perfect
square barely long enough to raise both arms; its roof rises four
cubits over the head while its floor lies five cubits lower, covered
in sand. Openings pierce the barren stone walls, barely large enough
to hold a hand. A strange, full-sized sphinx-like idol (apparently of
Semitic manufacture) rests upon the stone floor. Despite its innocent
outlook, the sphinx represents both death and liberation for the
initiates through Hod. Calm, control, and surrender shall be a
tremendous toll upon the dazzled initiates, conditions close to deadly
if there should be a male among them, having trespassed what was
forbidden to them.
As the courageous of heart descend upon the floor, pressure makes a
massive block of stone roll over the entrance, entombing all
inside. There is no apparent escape, save perhaps for the strange
shining idol. The nature of Hod makes it that hostility and sorcery
are of no use to escape; only by surrendering to the powers of nature
can salvation be found. Slowly, a sandy dust flows from the openings,
gradually filling the whole cavity with a light yet definitively
compact substance. As it does not seem to stop by itself, it should
not be long before our company realises that pressure, if not
suffocation, shall sooner or later cause their deaths. Caressing the
idol in any way unleashes an even greater menace. From the wound-like
openings, riding upon the sand, fall small, dark scorpions, seeking
refuge from death under the victim's clothing... Even worse, they
seem, for some reason, really averse to pheromones emitted by males,
menacingly assaulting them with their tiny yet painful stings.
Scorpions are not aggressive towards females unless provoked or
assaulted.
There exists a way out for anyone wise enough to understand the true
nature of Hod. As always, the writings upon the threshold present the
key: a kind (or sadistic?) soul has inscribed them upon the sphinx's
plinth, written in ancient Hebrew. Only by submitting to death can
heroines triumph over it. Males, unless they exert an extreme effort
of will and accept the scorpions' wounds, have no chance of
surviving. Furthermore, they risk their female companions' lives by
their mere presence. Salvation appears when dust has risen above the
initiates' heads and suffocation becomes a real danger. As long as any
movement troubles the sanctity of the temple's dust, no opening shall
be revealed. If complete immobility, despite the scorpions' harassment
and the impossibility to breathe, should reign in the sanctuary for
five minutes after this moment, valves in the floor would open and
allow the dust to disperse. Simultaneously, the sphinx (representing
female mysteries) will slide to the left and allow for passage into
Tiferet. If protest and desperation drive the heroines into fits of
madness, suffocation or pressure shall take their lives.
Netzah
Upon the golden threshold of Netzah have these words been inscribed,
in Hebrew:
Beyond Me Lies Ye Right Arm of Ye Universe
Where Generosity is Ye Light and Progress Ye Way
Here Ye Pious Male Triumphs His Will
Here He is Offered the Gift of Splendour
Most certainly, death awaits any female to cross this door. The trial
of Netzah is one of faith and hope, as the heroes shall be faced with
their greatest fear yet: the fear of failure. There is fear of pain,
of death, of their soul's annihilation. Yet the danger is very real,
and from this fear it gets its sustenance.
As the gates leading to Netzah have been crossed, a long, dark tunnel
is revealed amidst the enveloping darkness. Too high to be touched,
its upper part is shrouded in a strange mist while its lower part
bathes in a strange, oily humidity, smelling of both incense and
ether. Far beyond shine small, flickering lights, as if fires were lit
leagues further. Seven steps after the entrance, floor carvings in
Hebrew reveal the following words:
There is Also A Mixture Coming from Ye Demons, Ye Souls of Ye Guilty
that are Ye True Demons of Ye World. There is Finally a Mixture Made
of Incubi, of Evildoing Breaths and Nightly Spectres and All are
Mixed with Israel. But Among these Mixtures There is None as Cursed
as Amalek, Ye Evil Serpent, Ye Other God, Ye Unveiling of All the
World's Nudity. He is Ye Assassin whose Companion is Ye Poison of
Death, Idolatry. All Ye Mixtures Originate from Samael, but There is
Samael and Samael, and All do Not Have Ye Same Gravity. Nevertheless
Amalek, this Aspect of Ye Serpent, is Cursed Among All. (Zohar I,
29a)
These words praise caution against the dangers to come, dangers linked
to proud triumph and the vain pursuit of idolatry. In this test the
heroes must not only vanquish the dark Serpent, symbol of worldly
glory, but vanquish the Serpent within themselves, their greed and
need for recognition.
The lights flickering beyond the tunnel lead to a vast pyramid-shaped
room, twelve cubits high and wide by eighteen tall. Walls are made of
solid basalt, each of the three pierced by an alcove in its centre. A
sword hangs in each one of these alcoves: one made of pure gold, one
made of glittering iron, one made of crystal. The gold one has been
hand-crafted by an extraordinary artist, its blade chiselled with
glimmering jewels. The words "Ruler of Worlds" have been carved on its
hilt, in ancient Hebrew. The iron sword is bright and sharp, but
nothing as intricate as the first. Without any fanciful ornaments, its
hilt has been carved with the words "Ruler of Blood". The third and
last sword, finally, is but a grossly sculpted piece of crystal,
fragile in the extreme and looking as if it would break simply from
lifting it. In no way does it appear to be more than an ornamental
strangeness, even less a decent weapon. The words "Ruler of the Self"
have been written on its handle. The three swords' materials make it
impossible for women to wield them, as they burn like fire upon
women's skin. Even getting near one is uncomfortable. Without the
swords, though, heroes are doomed to lose their lives and souls in
Netzah.
Three steps from the walls, a pit opens to reveal a monstrous
three-headed snake, its twenty cubits long triple tail obscenely
caressing the threshold of three luminous gateways. One head is
crowned, the other bears scars and tattoos reminiscent of ancient
warrior orders, the last is blasphemous, bloody religious writings
extremely offensive to any pious person appearing on it. The first
head represents the Unjust King, the second one the Murderous Warrior,
the third one the Unholy Priest. The malevolent entity slitters and
hisses as heroes gaze over its horrid form, six cubits below. The
beast appears wholly unfriendly and surely would not let anyone get
near the gates without a fight. On each gateway appears an opening
into which, apparently, a sword must be deposited.
The Serpent represents our hero's fear and pride, and it feeds from
both of them. Danger awaits one who with foolhardy harshness engages
warfare with the beast, for its form is not of this world's substance,
but shaped of ether from the Qelipoth, the impure wastes that set
themselves apart from the harmony of YHWH's creation. In truth, its
essence, mind, and ferocity comes from the heroes' own, and its defeat
depends upon their triumph over themselves.
As the heroes descend toward the pit, the monster hisses vehemently
and spits its burning poison at those who profane its rest. A
different kinds of spittle comes from each of the three heads. The
Unjust King spits burning, liquid gold; the Murderous Warrior spits
poisonous blood; the Unholy Priest spits acidic faecal refuse. Painful
and deadly, these three spittle menace the heroes' survival as they
must pass the gates to enter Tiferet. As they fight, the three heads
menace and insult each hero by his own name, making ridicule of his
material pursuits and treasures (the King), calling him a kin slayer
and blood-tainted murderer (the Warrior), and insulting his faith and
doctrine or, if the case be, mocking the stupidity of his unbelief
(the Priest). Only the alcoves' swords can harm the beast in any way,
though using two among these three is as dangerous as the horror
itself.
Fighting the beast with the golden sword brings forth flows of molten
gold from the beast's wounds. The more the beast is wounded, the more
gold sprays, bathing the hero in the creature's impurity, and yet the
more it bleeds, the more the beast loses its colours, appearing weak
and feeble. When the final blow sets the beast to rest, the creature's
body shrinks and retracts monstrously to mimic the hero's own. Facing
in terror the death of his own soul, the hero's gold covered body
changes shape to become, in form, mind and soul, the Serpent
itself. Despite what the hero thought was his material victory, he
became what he most despised, dying in riches as he lived in riches,
becoming the Serpent himself. Cursed by his own folly, the hero's soul
is damned. "But among these mixtures there is none as cursed as
Amalek, ye evil Serpent..."
Fighting the beast with the iron sword brings forth putrid, dark
burning blood from the creature's wounds. The more blood that spills,
the more that fury invades the hero as he tears away at the creature's
scales, shredding its skin to pieces as the beast slowly looses its
hold on its blasphemous life. As the fight goes on, the hero's shape
alters more and more to become more feral and vicious, loosing its
grip on sentience as the blows become stronger and bloodier. His hairy
form, scarred by the beast's demonic blood, howls like a beast when
the Serpent's final breath is drawn. Though he vanquished, he is now
no more than a feral animal, having lost his sentience. As he
triumphed from blood, he lusts on more and ferociously assaults any
other hero invading his territory. Though this one's mortal existence
is lost, there exists a hope for salvation. If touched, with love and
forgiveness in intent, by the crystal sword, his bestiality is
stripped from him as he slumbers into a deep sleep. His form
disappears, mysteriously brought back at the labyrinth's entrance. For
a month shall he sleep, peacefully and soundly, but the experience's
trauma shall have its toll on his personality: no longer can this one
witness any act of violence, let alone act aggressively, without
feeling his feral instincts turning over, progressively turning him
back into the monster he once was. This time, the change has no
remedy. Should he not be restrained from his own impulses, his
degeneration into monstrosity shall be unstoppable.
Fighting the beast with the crystal sword is of no use, as the weapon
would break under the strain. This blade's properties are very
different from the two others. It amplifies emotions felt by the
wielder and hence can be both used for hatred and love. As the beast
itself is nothing but condensed hatred and impurity, fighting it with
hatred makes it stronger, more feral and deadly. A hero inclined
toward such an attitude would face certain death. On the other hand,
should one rather use the sword to pacify the beast, peace at his
heart and hand, the Serpent shall become more insulting and aggressive
than ever, yet be incapable of harming the wielder. As its strength
dissipates, the beast slowly shrinks and withers to become a feeble
old man, crying and whimpering. This poor fellow was once a popular
and proud Rabbi who started the journey into the labyrinth many
hundreds of years ago to prove his own worth. Though he was smart
enough to face Malkuth and Yesod, the Serpent triumphed over him and
enslaved him ever since in this monstrous state. Thanking the heroes
profusely for his deliverance, his physical form slowly disappears to
enter the Other world, where divine judgement awaits his repentant
soul. Should it be the case, the heroes would also see their fallen
comrade, unreal as vapour, smile peacefully as he also disappears for
the dead's lands.
To open any threshold a sword must be inlaid in it. As the three doors
are made of gold, iron and crystal, determining which sword must go
where should not pose a problem. Of course, anyone not strangled by
gross naivete would open the crystal door: the two others lead to a
hundred hells of suffering and pain, too gloomy and sinister to be
described here. Let us hope no hero would make the mistake of crossing
them!
Beyond the correct door, Tiferet lies.
--
