Discover

:''This article is about the demon Demogorgon. For other uses of this term, see Demogorgon (disambiguation).''
'Demogorgon', although often ascribed to Greek mythology, is actually an invention of Christian scholars^[1] imagined as the name of a pagan god or demon, associated with the underworld and envisaged as a powerful primordial being, whose very name had been taboo.

Contents

Derivation and history

In literature

Notes

References

Derivation and history

Demogorgon is first mentioned by a Christian scholiast of ''ca'' AD 350 - 400, who was writing glossary annotations into the margins of Statius's '' Thebaid''. This unidentified scribbler is misidentified with various Christian authors by enthusiastic modern demonologists. Prior to this, there is no mention of the supposed "Demogorgon" anywhere by any writer, pagan or Christian.
By the late Middle Ages, nevertheless, the reality of a primordial "Demogorgon" was so well fixed in the European imagination that "Demogorgon's son Pan" became a bizarre variant reading for "Hermes' son Pan" in one manuscript tradition of Boccaccio's ''Genealogia Deorum gentilium'' ("Genealogies of the Gods":1.3-4 and 2.1), misreading a line in Ovid's ''Metamorphoses''.
:"Though a "primal" god mentioned in quite a few Renaissance texts, and impressively glossed "Demon-Gorgon," ''i.e.'', "Terror-Demon" or "God of the Earth," Demogorgon was quite possibly brought into existence by way of a garbled scholium on Statius' ''Thebais'' 4.516 (often linked to Lucan 6.744-49), where most scholars like Seznec, for instance, now spot an allusion to the Demiurge ("Craftsman" or "Maker") of Plato's ''Timaeus.'' For a remarkable early text actually identifying Ovid's Demiurge (1/1, here) as "sovereign Demogorgon," see the paraphrase of ''Metamorphoses'' I in Abraham France, ''The third part of the Countesse of Pembrokes Yuychurch'' (London, 1592), sig. A2v."^[2]
The origins of the name ''Demogorgon'' are uncertain. Various theories suggest that the name is derived from the Greek words ''daemon'' ('spirit' given the Christian connotations of 'demon' in the early Middle Ages)— or, less likely ''demos'' ('people')— and ''Gorgon'' or ''gorgos'' ('grim'). Another, less accepted theory claims that it is derived from a variation of 'demiurge.'

In literature

Demogorgon was taken up by Christian writers as a demon of Hell:

"Orcus and Ades, and the dreaded name

Of Demogorgon."

— John Milton, ''Paradise Lost'' II. 966.

Note, however, Milton does not refer to the inhabitants of Hell itself, but of an unformed region where Chaos rules with Night. In Milton's epic poem Satan passes through this region while traveling from Hell to Earth.
Demogorgon's name was earlier invoked by Faustus in Scene III of Christopher Marlowe's ''Doctor Faustus'' (1590) when the eponymous Doctor summons Mephistopheles with a Latin incantation.
According to Ariosto's ''Orlando Furioso'', Demogorgon has a splendid temple palace in the Himalaya mountains where every five years the fates and genii are all summoned to appear before him and give an account of their actions. They travel through the air in various strange conveyances, and it is no easy matter to distinguish between their convention and a Witches' Sabbath. When elements of Ariosto's poem supplied Philippe Quinault's libretto for Jean-Baptiste Lully's opera ''Roland'', performed at Versailles, 8 January 1685, Demogorgon was king of the fairies and master of ceremonies.
Edmund Spenser mentioned him briefly in ''The Faerie Queene'':

A bold bad man, that dar'd to call by name

Great Gorgon, Prince of darknesse and dead night,

At which Cocytus quakes, and Styx is put to flight. (Canto I, stanza 37)

In ''Moby-Dick'', Starbuck describes the white whale as Ahab's demogorgon.
Demogorgon is also a character in Percy Bysshe Shelley's ''Prometheus Unbound''. In this lyrical drama, Demogorgon is the offspring of Jupiter and Thetis who eventually dethrones Jupiter. It is never mentioned whether Demogorgon is male or female and it is instead portrayed as a dark, shapeless spirit. The theory of Demogorgon's name originating from Greek "demos" and "gorgos" is possibly at work in this text as an allusion to a politically active and revolutionary populace. Shelley's allusions to the French Revolution further support this.
He is also the protagonist of an opera by Vincenzo Righini (1786) with a libretto by Lorenzo da Ponte.
Demogorgon is the title of a poem by Álvaro de Campos, in which the writer is afraid of becoming mad by learning the true nature and unveiling the mystery of life.

Notes

1. See next paragraph.
2. Dr Daniel Kinney, "Ovid Illustrated: The Renaissance Reception of Ovid in Image and Text" linked below.

References

★ Dr Daniel Kinney, "Ovid Illustrated: The Renaissance Reception of Ovid in Image and Text"

★ Varda's Demogorgon page