The Innsmouth Tarot, Part 5 - The Major Arcana 3

While our main sources for this tarot deck are the commonplace books and chapbooks that have proliferated in the New England nexus – along with what few extant cards have survived the passage of years – there are other texts which have surrendered their secrets in order to help inform the production and revival of the practise. These are texts specifically related to the mythos which underscores the Deep One faith, locally known as the Esoteric Order of Dagon.

These also, have been produced locally as chapbooks, useful as instruction for those new to the faith, or for long-time adherents, in much the same fashion as the Christian faith has its prayer-books, hymnals and psalteries, not to mention Bibles. Copies of these books reside in the Orne Library at Miskatonic University, but are found throughout the Massachusetts and Rhode Island region, as well as in collections overseas.

The Teachings of the Esoteric Order of Dagon

Author unknown

London, nd. (c.1580)

Octavo; quarter-bound in calf with marbled boards with gilt spine titling; 128pp., untrimmed.

Residing in London’s British Museum, this is perhaps the earliest printed version of this work to be found. Written in the language of Shakespeare, it comprises much of the ritual and devotional proceedings relevant to a typical religious service worshipping Dagon, as well as some liturgical views of the organised religion outlining the background to the faith. It is clearly meant to be read by newcomers to the religion and the theological arguments are kept to a minimum.

Within can be found a complete myth-cycle concerning Cthulhu and its extended “family”, with references to other entities such as “The Unspeakable One”, “Azag-Thoth” and “Saint Toad”. As well, the nature of the Deep One life cycle is discussed in relatively fulsome detail.

Originally circulated as chapbook in printed wrappers, this copy was re-bound sometime in the Nineteenth Century and was donated to the Museum by a previous owner, Titus Crow. Another version of this work, translated into Spanish and printed in Toledo in 1610, is also kept within the British Museum holdings.

Invocations to Dagon

Asaph Waite

Innsmouth MA, 1826

Duodecimo; in printed wrappers; 24pp., untrimmed.

This chapbook, printed in Innsmouth in 1826, resides in the Orne Library of Miskatonic University. Its delicate condition means that it is currently on the Restricted List, lest any further damage accrues to it.

The contents of the work are very slight, comprising as they do only the spoken sections of a typical Order of Dagon service. Interestingly, there are far more verses here than can be found in the Teachings of the Esoteric Order of Dagon, including a rare reference to Cthylla, an entity which is seldom mentioned in the canon, if at all. Most of the “Cthulhu family” are mentioned, including Idh-Yaa, Ghatanathoa (as “Ghanta”), Zoth-Ommog and Ythogtha.

The difficult esoteric language of the original text is here “done into” English and verbal responses to the ritual activities of the Dagon service offer subtle insights into Deep One society. Unlike the Teachings, where the verbal elements of the rituals are written phonetically, this is a direct translation of the tongue-twisting invocations.

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Card 11 – The Taint

The Taint has many names – locally it is referred-to as “The Innsmouth Look” - but it is a reference to the physically similar appearance that communities of nascent Deep Ones project to the rest of the world. Bulbous, unblinking eyes, weak chins, rubbery features and a receding forehead, are all typical of the Deep One genotype and readily identify the nature of the community.

Government research in the post-1928 era, identified the Taint as an aggressively-dominant chromosomal phenotype, obliterating other hereditary markers with an almost viral ferocity.

Within the tribe, such features are taken as signs of belonging, hallmarks of the community presence; Deep One communities acknowledge and welcome those who express similar features as members of their own race. Within these communities, the Taint is something looked proudly upon, as an indicator of the strength and integrity of the social fabric and its durability.

The Newburyport set of cards has the usual blunt description to offer.

This card symbolises strength and fortitude. It speaks of energy, virility, determination and the ability to endure despite all obstacles. It sometimes indicates spiritual power and zeal. Confidence and self-reliance are the keywords here: the overcoming of material power and the triumph of love over hate.

Inverted: When upside-down, quite naturally this card signifies weakness and pettiness: the succumbing to temptation. At some times it means tyranny or the abuse of power, a lack of faith and the discord that results.

Card 12 – Sacrifice

The strong communal bond of the Deep Ones is often prey to outside pressures: religious bigotry opposed to their faith or ill-informed observers who denounce their lifestyle as too different for their narrow minds to encompass. A threat to any one member of the social tapestry is a threat to all.

Strange then to realise that amongst Deep Ones there is an understanding that sometimes one individual can be sacrificed in order to save the majority. Deep Ones have a fatalistic worldview which can prompt them to great acts of bravery when a hazard to the community can be ameliorated by the sacrifice of a single life. Not that any Deep One would heedlessly throw away its existence: as immortal beings, life is not a cheap commodity.

The interpretation of this card is life suspended; efforts, or a marshalling of forces towards a goal which may well not be attained. It speaks of transition, of the re-evaluation of one’s life and one’s place within it. The sense of the card is one of improvement: the abandoning of ideas or ideals towards a better outcome.

Inverted: When upside-down, this card speaks of a pre-occupation with the ego; an unwillingness to give of one’s self, or to make the necessary effort. It can also indicate a false prophecy.

Card 13 – The Final Death

The physical existence of the Deep Ones is complex and involved; the notion of death has very different connotations within their communities.

A person with the Taint begins life as a normal human being – growing, developing, creating an earthly existence. At some point, this ‘normal’ life begins to come apart: physical changes; mental changes, and a psychic imperative begin to draw the nascent being out of their routine and bring them closer into contact with their imminent lifestyle. The leaving of this first life is sometimes referred to as “the first death”. As mentioned elsewhere, if this initial transformation takes place away from a support network, it can be quite traumatic.

Once the Change has fully taken place, the Deep One heads out to the undersea life in Y’han’thlei, there to begin an immortal existence beneath the waves. Most Deep Ones feel that this eternal life is their reward and to die before attaining this goal is a deeply felt loss by all members of the community; it can fire a strong sense of vengeance within them.

There is another type of death, however, and this is often called the Final Death. Strangely, it hearkens back to a spiritual notion which was current during the Ancient Egyptian civilisation, and once more throws into sharp relief the sheer potential age of the Deep One traditions. The Ancient Egyptians saw death as a matter of degree: one could be mostly dead, somewhat dead, or completely dead, and this last state was much to be feared. Degrees of mortality depended upon the level at which one was recognised within the community: being ‘known’ was to be a functioning aspect of reality and to be alive. In this sense, the Pharaoh was the ‘most alive’ person in Egypt since everybody knew him and contributed to his existence. This helps explain the practice among the Egyptians of effacing monuments to those fallen into displeasure or disrepute – once all signs to remind others of their existence were gone, they too were finally, completely, extinct.

The key to being alive was to contribute. The Egyptians placed much value on helping others and working for others and for the state. In the Books of the Dead, during the ordeal known as the “Weighing of the Heart before Osiris”, one’s deeds were examined and, if found wanting, the essence of the person awaiting admission to the Afterlife - their “Ba” – was thrown into the jaws of an hideous monster to be devoured and removed from Reality forever. With nothing of them left to be recognised, they could no longer be known and therefore became utterly, irrevocably dead.

The Ancient Egyptians recognised this ‘degree of death’ scenario in daily life and were quick to respond to individuals who withdrew from social contact and interaction, due either to depression, despair, or some other cause. Such individuals were considered to have ‘died’ somewhat and to have passed – at least partially – beyond the realm of the living. The Deep Ones also recognise such individuals as being ‘dead to the community’ and often take pains to alleviate the situation if possible. Exile – whether self-imposed or otherwise – and distancing are greatly feared among the Deep Ones. To die alone and without the knowledge of one’s peers is a thing to avoid at all costs. To be unknown is to be unmade, as if one never were.

This card symbolises the clearing away of old structures to make for the new. On some level it can stand for loss, failure or mishap, while on others it can stand for the death of the old self, although not necessarily in a physical sense. While sometimes it means bodily death, at other times it heralds the beginning of a new era.

Inverted: When upside-down, this card indicates stagnation or the unwillingness – or inability – to change. It can also mean death just avoided or the recovery from a severe illness or injury

Card 14 – Calm Waters

Within the typical Deep One community, the true nature of the society is usually kept sub rosa. Obed Marsh encountered his first Deep One settlement on a South Sea island and, in such a time and place, the whole isle must have conducted its business relatively openly. In a coastal settlement like Innsmouth, where an established authority outside of the settlement would have access to the town, things would have to have been kept very much more clandestine.

The Deep Ones are very good at keeping their secrets. They work hard to maintain a low profile in all things, trying not to attract the sort of attention which would bring unwanted investigators; amongst these folk there is a proverb: “Calm waters attract no fishermen”. The community works hard to maintain a balance between its organic needs and an appearance of benignity; maintaining that balance is an onus that falls upon each and every member of the social network.

This card represents moderation and self-control. It speaks of frugality and the bringing together of disparate parts into a seamless whole.

Inverted: When upside-down, the card symbolises discord, hostility and disunion; a conflict of interests in business or personal affairs, or unfulfilled desires. It points to an inability to work alongside others and a spirit of impatience.

Card 15 – The Unspeakable One

Within the legendry of the Cthulhu Cult, there is a great enmity between the Great Old One Cthulhu and another such entity, which is so reviled that its name is never spoken. It is merely referred to as “He Who Must Not Be Named” or the “Unspeakable One”. It too has its cults and manifestations and the followers of Cthulhu, it is said, struggle to oppose the efforts of these minions. In a very real sense it stands as the Satan figure in the belief systems of the Deep Ones.

Little is known of the appearance or attributes of this creature. It is known to have some association with the star Aldebaran in the constellation of Taurus and that association has formed the basis of this card. In fact the Kester Library card set shows a strange glyph which we have interpreted as a derivation of the constellation, with the central eye standing for Aldebaran. This star appears above the horizon for only a handful of months in a year and Deep One communities are known to refer to this period as the “season of the Devil”. As well, they have a saying – “not while the Devil is watching” – often used to put off activity during this time, but also uttered when some other reviled authority might act as witness to a clandestine event.

This card represents dominance or subordination to another’s will; it speaks of enslavement. It can mean violence, shock, or a fatality; a disaster or downfall. In some instances it can symbolise a weird or astral experience or the action of black magic.

Inverted: The opposite of this card is release from bondage: the throwing off of shackles or the overcoming of insurmountable obstacles. It can represent the beginning of enlightenment and the start of spiritual understanding, or the overcoming of the fear of one’s self.

Card 16 – The Crumbling Cliff

Weakened by the interminable pounding of the sea, the high cliffs crack and fall into the ocean below. What once seemed lofty and insurmountable – almost permanent – is brought low in a spectacular display of destructive power.

This card suggests the breaking down of old structures to make way for the new. It speaks of a loss of stability, a sudden event which destroys trust. The sense of the card is loss – of control, certainty, money and security. 

Inverted: When reversed, the card speaks of oppression; the continuance of an untenable situation. The card indicates an inability to effect necessary change.

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A Note on the Artwork

In compiling the Insmouth Tarot Deck the resources of the Miskatonic University Folklore Field Unit were more than equal to the task, with expertise in literature, anthropology, psychology, philosophy and history; however, the project required more than just the compilation of culled information from various sources – it needed artists to bring the symbolic imagery to life. To that end we looked around for a local, Arkham-based source for our illustrations.

Headed by our artistic director Patricia Swanton, we discovered the Miskatonic Freedom Art Society, a charitable organisation based out of West Church in Main Street, Arkham. This is a mental health initiative which provides free art therapy classes for all those needing the counselling strategies such treatment provides, or just simply seeking mindfulness exercises to help control stress, depression, or anxiety–based dysfunctions. With the help of the staff of this outreach centre, we quickly found a core group of amateur artists willing to take on the challenge of interpreting the images for our tarot deck.

Says Patricia: “The creatures and concepts found in the mythology often have a pleasing radial symmetry which makes them perfect material for a design-centred aesthetic to come to grips with. In a sense, these creatures are no more bizarre than the gryphons or sphinxes, say, of Classical Greek legends.”

We held weekly sessions with our artists, discussing the various cards and their symbolic aspects. At the end of each month we judged the best images presented, thus inspiring a friendly spirit of competition among the illustrators. The winning sketches were scanned, coloured and augmented by our in-house art team and prepared for publication. I’m sure you’ll agree that we’ve managed to distil a striking bunch of visuals from our combined efforts!

To Be Continued...