Disregard for grammatical rules, telegraphic and condensed manner of expression, use of parentheses, and inversions and colloquialism are other aspects of style which contribute to obscurity. Lippo has been seized by the night watch as he makes his way back to the palace of the Medici after an amorous escapade. The situation causes him to reflect on the problem of reconciling two clashing forces in religious art- the flesh and the spirit. Lippo is quite satisfied with his sensualise, but he is also aware of higher things. The enthusiasm of the musician ebbs after reaching the heights of rapture and ecstasy.
But in, the consolation lies in his instinctive feeling that anything good once created can never be lost or destroyed. The soul has successfully resolved the crisis in this poem. Soliloquy of the Spanish Closter is a superb study of the psychology of malice. The Last Ride Together is spoken by a rejected lover who has been granted his request for a last ride together.
The situation sets the speaker off to reflect on love, happiness of the present moment, and his thoughts and hopes for the future. The dramatic lyrics of Browning reveal character not through external action, but through the clash of motives in the soul of the speaker. Thus in Andrea Del Sarto, the poem opens at a moment when Andrea and his wife have been quarrelling.
Tired, he requests the company of his wife for the evening, and goes on to talk of his career as a painter, his hopes and failures. We get through his revelation the crisis of his soul- the conflict between his realisation of what he ought to have been and what he, unfortunately, is. He knows that his art is dull if pleasant, and in order to be great art must have fire, passion and express elevated ideals. How is it that Browning in an age fraught with despair and pessimism was such a robust optimist, though not a superficial one? Part of the answer lies in the fact that he had a happy personal life in his marriage and his healthy constitution.
Furthermore, his general outlook on life was free of despair and gloom. He firmly believed in heavenly life after death, and he conceived of God as Love. We cannot help seeing that he is sound in teaching that life must be viewed as a whole, and that success must be seen not merely in the outcome but in the very efforts and sincerity with which these efforts are made. Touches of the grotesque illuminate his poetry. Fra Lippo Lippi begins with a startling admonition to the night watch for catching hold of a monk while returning from an amorous escapade.
Evelyn Hope presents a lover revealing his love at the death bed of the girl he had so far loved in silence. The grotesque element is most obvious, however, in the style and language used by Browning. Just as Browning had a fondness for strange and unusual actions and queer characters, he had also a liking for queer metres.
He is the first great poet after Shakespeare to make use of the grotesque for the purposes of art. Browning, unlike his contemporaries, was not a slave to convention; he often experimented in new areas of subject and style of poetry. There is thus admittedly an element of the grotesque in his subject and style. He was struck by the unconventional, the odd and the absurd. And just as Browning dwells on the oddity of a fungus or a jellyfish, he also dwells on the oddity of a philosophic idea. He uses grotesque images and expressions to convey the strangeness and oddity of an idea.
In Caliban upon Setebos, we have grotesque humour.
Indeed, the very fact of a savage such as Caliban talking of theology is somewhat incongruous and thus amusing. The setting or scene contributes to the total effect of the poem. The Friar has escaped for a night from the restrictions of a monastery, only to be caught by the city watchmen at the end of the alley. In other poems, the scene is gradually evoked- note the Soliloquy of the Spanish Cloister.
At times it jars on the ear as well as on the consciousness. True, for Browning the grotesque was necessary to express the subtleties of thought and emotion and oddities of character. He would not have been himself, indeed he would have lost much of his strength, energy and originality, if he had been otherwise. But it has also to be admitted that in many places the use of grotesque has no justification whatsoever.
It is often overdone. He is in many of his poems perverse and childish in his eccentricities. His puns are sometimes irritating, and his grammatical constructions often capricious and willful, creating avoidable difficulties for the reader. Some critics have even remarked that in the poem Browning has killed off not merely the grammarian but grammar as well. Frets doubt the maw-crammed beast? Not all his poems are obscure. True, his poetry is not meant for idle reading, as he did not aim to write that kind of poetry.
But of, we cannot say all his poems are obscure. As such, though the charge of obscurity cannot be denied, it is also not to be exaggerated. Did I solicit thee From darkness to promote me? Since God also created Eve to provide company to Adam, Victor must also provide companionship to the monster he has created. Victor was in a dilemma I thought with a sensation of madness on my promise of creating another like to him, and trembling with passion, tore to pieces the thing on which I was engaged.
The wretch saw me destroy the creature on whose future existence he depended for happiness, and, with a howl of devilish despair and revenge, withdrew. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind. If you will comply with my conditions I will leave them and you at peace; but if you refuse, will glut the man of death, until it be satiated with blood of your remaining friends. Cease; you know not what it is you say. In Rabbi Ben Ezra occurs the famous symbol of the Potter, his wheel and clay. God is the Potter; time is the wheel and man is the clay.
Browning uses colour, light, love, music, etc. The reader has to move very ably and carefully, keeping pace with the development of his emotion. If we take the crime at its face value, it should arouse feelings of contempt and disgust, but what happens is that we feel sympathy for the lover inspite of his crime. Even the god of this lover has not condemned his crime. How has all this happened? How is it that a murder has failed to evoke in us, feelings of awe and terror against the murderer?
Why is that a lover has murdered his beloved even when he knows that she worshipped him-and even when he loved her so well? These questions find an answer in how the reader moves with the monologue and its development. Where the reader fails to move with the monologue, the monologue fails to become understandable and it is in this manner that the poetry of browning becomes obscure or it may better be called difficult.
The shift from one idea to another affects the style of the monologue, because it is for the language of the speaker to absorb and convey the relationship between two ideas, entirely different in nature. There remain certain missing links and the reader is supposed to search them out. His business is such. He cannot afford to be narrative. He has to leave a lot on the reader.
The reader cannot understand his monologues and their real significance, if he does not see them with the analytical eye of a psychologist. It shall be incomplete, however, to say that only the thought of his poetry is difficult, because the obscurity of thought makes its way into the language of the poem, and thus makes its very style difficult to be understood. Difficulty of thought is inevitable in the type of poetry which Browning was writing. But of, there are certain other elements which cause obscurity and which could have been avoided to a large extent.
Perhaps, he tries deliberately to be obscure in order to satisfy his own whims and fancies. His style and rhythm are often intolerably rough and unmusical. He is full of strained expressions, irritating and harsh inversions. Worst of all, perhaps is his inability to select the essential and to reject the unimportant. He pours out the whole farrago of his thoughts and sometimes does not take the trouble to set them in order. This is the meaning of the charge of verbosity which has been brought against him. He is not verbose in the sense that he gives expression to many thoughts when a few would suffice; the total effect might be produced in less space than he takes.
A conspicuous example is The Ring and the Book, one half of which says nothing that is of the slightest importance. He develops a consuming interest in the life principle. This interest develops into an unnatural obsession and Victor undertakes to create a human being out of pieces of the dead. When Victor is successful in animating the gigantic human frame, he is horrified to look at the monster he has created; the creature became too powerful. The result is catastrophic. Victor becomes a victim of his own creation that hounds him at every step. Even though Victor abandons his own creation, the creation does not abandon him.
And finally, the creature had disappeared….. Browning always gives hope to Man. When the creature stretches his hands towards his creator, the scene is full of pathos. Mary Shelley appears to be parodying the world - famous fresco on the Sistine Chapel executed by Michael-angels. Victor is demented and helpless. What these novelists did in fiction, the Romantic poets like Blake, Coleridge, Byron and Keats attempted to do the same in their poems. Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you.
We have no haunted castles or monasteries as we find in the earlier Gothic fiction. She deftly combines science with the common supernatural and ushers in which is called science fiction. In fact, many critics do not consider it as a Gothic novel, but hail the novel as the one pioneering the new genre called science fiction. Indeed the Romantics gave much prominence to the role of the imagination which could change the world and make it a new. Most of them took the core idea that the poet was a creator: they glorified the artist who gloated over his powers to recreate the world a new, more beautiful, more harmonious.
In her opinion such an artist was no different from the scientist here Victor Frankenstein who usurps the power of God. Here, Mary depicts the disastrous consequences that follow when a scientist attempts to violate nature and encroach upon the forbidden territory. In many words she groans and cries as does the dying Victor, not to do what he foolishly tried to do.
What followed was eternal torture. Mary Shelley gives a new meaning to the myth: the modern Prometheus is like Faustus, an over- reacher, a rebel against the established order and suffers death and damnation as a consequence. We all know that most of the Romantics were rebels who almost eulogized Satan Shelley considered Satan superior to God.
Prometheus became a prototype of most Romantics. And in Frankenstein he is the prototype of Victor who is both a rebel and a creator. But at, after getting a handsome fortune from his cousin, he launches himself on the expedition. He traverses through frozen lands, hires crew and a vessel and sails into the North Sea.
His only link with the world is writing letters to his sister Mrs. Saville, England. He does refer to a merchant-man who would deliver his letters.
Stop Getting the Wrong Things Done
I often referred the several situations, as their similarity struck me to my own. Like Adam, I was created apparently united by no link to any other being in existence; but his state was far different from mine in every other respect. He had come forth from the hands of God a perfect creature, happy and prosperous, guarded by the especial care of his Creator; he was allowed to converse with, and acquire knowledge from beings of a superior nature; but I was wretched, helpless, and alone.
Victor collecting bones in the charnel houses and graves and working in this filthy workshop totally cut off from the rest of the habitation. He himself feels horror struck when he looks at his own creation- the yellow skin which scarcely covered the muscles and arteries, watery eyes almost of the same colour as the dun white sockets, shrievelled complexion and black-lips. The gigantic figure he creates horrifies the creator and he rushes out, tries to get sleep finds the monster looking at him; the very sight shocks him and he rushes out to spend the entire night walking about in the courtyard down below.
Though the narratives come from the mouth of the Monster to Victor and Victor to Walton, the effect is truly uncanny and eerie. The same feelings are evoked by the long chase by Victor all through wilds, hazardous terrains, then getting a sledge, exchanging it with another to pursue the monster as he follows the words carved and engraved on the bark of the trees and on stones, and finally, getting trapped in the ice. All such descriptions are suggestive of the Gothic. However, we must remember that all the narratives that come to us are three-steps removed.
Since Victor has undergone a terrible experience, more like the ancient mariner, his mind must have gone hay-wire, he seems to be a victim of schizophrenia. Browning does not look at love only for its earthly significance. He looks forward to it in the world beyond. The rejected lovers of Tennyson express their annoyance with the women who reject them. It does not happen thus to the rejected lovers of Browning. They, on the other hand, adore their beloveds all the more, even after they have rejected them.
They cherish the idea that they must be victorious in love in one life or the other. The rejected lover in The Last Ride Together does not have any regrets. He is satisfied with the last ride that he is taking with his beloved. The idea that the world may end at the moment when he is taking the ride, gives him tremendous satisfaction and leads him to the belief that the end of the world will unify him permanently with his beloved. The lover of Evelyn Hope also puts across the faith that he will be one with Evelyn Hope in one life or the other. He is so gentle, yet so wise; his mind is so motivated; and when he speaks, although his words are culled with the choicest art, yet they flow with rapidity and unparalleled eloquence.
Thus, the novel is more a science fiction than Gothic. Mary Shelley thus ushered in a new genre which became popular later. In Idylls of the King, he deals with Victorian standards of morality. In Ulysses, he shows the spirit of enquiry of his age and its search for knowledge. Princess deals with the question of women.
In Memoriam represents the conflict of doubt and faith. We hardly find anything of this sort in the poetry of Browning. He is a poet of the individuals and not of the masses of his times.
He never cared to cater to the general taste of the public at large and this accounts for his delayed popularity. He was not read by his immediate contemporaries, because they failed to see their own image and that of their age in his poetry. For example, Browning remains uninfluenced by the element of doubt that ad entered the Victorian era as result of the scientific and industrial advancement of the age.
The element of doubt and scepticism finds no place in the poetry of Browning. He speaks of outright faith. He gives an unconditional justification of the ways of God to men. He had abandoned me, and, in the bitterness of my heart, I cursed him. She died in London on February 1, at the age of fifty-three. Browning differs from Tennyson in his treatment of love in still another manner. The treatment of love differs in the hands of Browning and Tennyson.
Here also, as usual, Tennyson is conventional and Browning unconventional. He adds spiritual significance to this passion by virtue of his belief that the departed souls meet in heaven. In his personal poem Prospice, Browning gives expression to the belief that he will meet his dead wife after his own death. He is in the habit of omitting words. Compared to him, Tennyson is a mature literary artist. Unlike Browning, Tennyson takes no liberties with the established stanza-forms and other rules of poetry. As a result of this, his poetry becomes more musical in tone than that of Browning.
The easy flow of The Lotus Eaters remains unparalleled. Browning is always in search for new stanza-forms. In the process of trying to be original, Browning makes his verse ash and rough, whereby his poetry loses the poetic charm, so essential for a first-rate piece of literary art. There are instances of extremely ill-rhymed lines in the poetry of Browning such as the one in Rabbi Ben Ezra. With due regard to the greatness of Browning as thinker, there cannot be any denying the fact that Tennyson has left him far behind in the field of literary and artistic perfection.
Browning comes nowhere near the sweet melody and effective lucidity of the poetry of the poetry of Tennyson. Tennyson is clear and simple. Browning is obscure and complex. And the reason of this difference is easy to see. Tennyson is, perhaps, the most limit of English poets, while Browning the most difficult. Tennyson was classic in his sympathies. Browning as pre-occupied with the matter of his poems; he had too much to say to trouble about perfection of form, and so long as his meaning got itself expressed somehow, he was satisfied.
His verbal felicities seem accidental, not the result of pre-mediated art. But of, he had much the more powerful intellect of the two much the greater capacity for, and insight into passion. Browning will always continue to be read with fascination and interest because of his wonderful character-studies.
He has created men and women who keep haunting the mind of the reader long after he has read his poetry. One fails to find equally revealing and interesting character-studies in the poetry of Tennyson. The analysis of Browning is scientific. His character-studies are complex and yet they are interesting. They have a special appeal for the readers of modern times because in them one can see a reflection of the complexities of modern life. The method of Browning is unique. He does not write a full five-act play to reveal the intricacies of human nature.
The reader of today is too busy to read long dramas. So, he likes it better to turn to the shorter character —studies and one finds plenty of them in the poetry of Browning. Another aspect of his love for the grotesque is to be found in his rhymes. Jugglery with rhyme could be enjoyable in humourous poetry, but when used in serious poetry, it seems ill-suited.
It is true that the grotesque element often stirs the reader into surprised attention. At the same time, however, it leads to difficulty in understanding. Browning displayed a marked partiality for anything grotesque. Some of his poems, for instance, Soliloquy of the Spanish Cloister and Caliban Upon Setebos, are clear exercises in the grotesque form of art.
He could use such a style to great effect in a poem like Holy-Cross Day. Taking up a subject like the human mind and a form like the dramatic monologue, it is but natural that Browning should employ the very rhythms of ordinary speech. His characters express themselves in a spontaneous manner- the flow of speech corresponds to that of thought. To a great extent, it is possible to correlate disregard for grammar with the unconventional style which Browning used. The boldness, the ruggedness, even the incomplete sentences, expresses the thought process of the character who speaks in the poem.
But of, when the elliptical syntax or parentheses and rhythms of natural speech are carried too far, the result is obscurity. The meaning of the stanza from Soliloquy of the Spanish Cloister, needs great effort to understand. There his lily snaps! He goes to the extent of borrowing, not only colloquial idioms as well. His most successful poems make good use of colloquial turns of speech. At the same time, his use of colloquialisms often leads to difficulty, as it does Rabbi Ben Ezra. Here connectives are left out and the result is difficulty.
It is also a clear illustration of the difficulty caused by needless inversions. Allusions of all kinds abound in his poems, and these references are drawn from various sources, some of which are remote and little known. One Word More, though otherwise a simple poem, contains several references to Dante, Rafael, Moses, Endymion, and so on.
Soliloquy of the Spanish Cloister is also made difficult because of its allusions- the allusion to drinking water in three sips, for example, implies the three persons in the trinity. Having an encyclopaedic mind, especially in the subject of history, Browning assumed the same knowledge in his reader. Many of his poems show an extraordinary knowledge of medieval history and obscure Italia history. Names from the geography and history of other countries often pose difficulties to the reader.
Browning often presents a speaker ironically. The reader has to be mentally alert all the time in appreciating the shifts in satiric direction. Memorabilia, again, evades easy comprehension. However, when one says that his style is obscure, one cannot hold that good for all his poems. Some of poems are lucid and simple, even if they offer a rare or unusual perspective. It would not do, therefore, to exaggerate the obscurity in his poetry. In his shorter poems, he has combined the beauty of style so well with profundity of thought that one feels like reading them over and over again.
Even some of his obscure poems have a few memorable lines. Perfect I call Thy plan: Thanks that I was a man! Maker, remake, complete,-I trust what Thou shalt do! Here he is simple, lucid and clear and it is on verses like these permanence of Browning rests. In the first three lines, the speaker speaks of his ride with his beloved and of the satisfaction and joy that this ride is lending him. The third line ends with a full stop and, thereby completes the meaning but, the stanza does not end there. From an idea of the ride, the speaker immediately switches over to the idea of the destruction of the world, and there the stanza comes to a close.
Looking outwardly, the change from one idea to the other seems very abrupt, but the moment we penetrate deeper into this shift of ideas, we find that the entire faith of the speaker stands embodied in the jump from one thought to the other. It involves the entire philosophy of his life. Here it is revealed to us that the speaker is not looking at his ride from the point of view of its face value. For him the ride has a meaning beyond itself. By the Fireside expresses a strong, earthly, sensuous tone, even while not ignoring spiritual love. Browning felt that the way to develop the human soul lay in love, and the love had to be complete.
It was to involve the sensuous and physical as well as the spiritual. And through human love, it is possible to achieve divine love. Love is a complete experience in which the body, the mind and the soul have their equal share. He tries to fabricate a false picture of his wife.
Why we narrated the whole incident is to emphasis upon the extraordinary pains that the reader of Browning has to take in order to have a thorough peep into the minds and hearts of his characters. It is necessary to note here that My Last Duchess is not an obscure or difficult poem. It has been used as an illustration here, merely to show how intricately Browning can analyse a character through his own words, and how the reader has to keep an alert mind. The characters of Browning are so complex in their mental make-up that the reader has to study them after accumulating all the energies of his mind.
Browning, therefore, inevitably tends to become quite a difficult writer to be understood and enjoyed. In every dramatic monologue he tales up a new individual, and every individual is complex in his own manner. Every character of Browning has to be studied in the context of his own mental make-up and situational background, and this involves in itself quite a pains- taking job.
In this field his like a miner delving underground, sending up masses of mingled earth and ore; and the reaper must sift all this material to separate the gold from the dross. We can name the sum- total of his views as his philosophy, if certain views, put together can at all be called a philosophy. It must be made clear here that Browning was not a philosopher in the strict sense of the term, as such, for his views did not pertain to the existence of Man in the world of material values alone. He went ahead of that and tried to study Man in relation to the entire universe, i.
He did a close study of the human psyche in its various facets. The needless harshness and obscurity of Browning will tell seriously against him. But at, notwithstanding many obvious defects, his greatness as a poet is quite beyond dispute. It is in the process of portraying these characters that Browning gives expression to his highly cherished thoughts and feelings. We find these views scattered all over his poems. The philosophy of Browning is the philosophy of a man looking at the world with more than a glimmer of hope in his eyes.
He is altogether hopeful about the fate of man; not only in this world, but also in the next world. He believes in the immortality of the human soul and in its salvation. In fact, there is a degree of love attached to the crime of this criminal. He has killed her only because his love for her was so immense. There was no other way of making her his own, because social barriers stood in his way.
Yet there is at the back of them all, a force that unifies them. Browning was a poet of the individual. He was interested in a theme in so far as it supplied him material for providing interesting character studies. This is the best argument for the original goodness of the monster, for in this case the two primal Rousseauean instincts collide, and the monster chooses to exercise compassion even as it conflicts with his own self-preservation. He puts the belief in the form of a fine metaphor- that of a potter and the clay he moulds. The potter stands for God, the clay for man, and the wheel for Time.
It is only the consciousness of evil and imperfection that will help man in his advance towards perfection. The hypothesis is that, in a cosmic sense, all must be right under an omnipotent and essentially benevolent God. Browning does not mean that there is no suffering or evil in the world. He means that divine governance being benevolent, what appears as evil to us has its own place in the divine plan. Browning is not daunted by evil.
In a sense, evil is essential for the attainment of good. The belief that the soul is immortal led Browning to believe that what a person fails to achieve in this world, he achieves in the next, where the departed souls meet and dreams become realities. He gives a very strong expression to this belief in one of his most personal poems, Prospice.
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I am alone, and miserable? Man will not associate with me but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species, and have the same defects. This being you must create. I know not: but I had rather I die, than return shamefully,- my purpose unfulfilled. When the crew decides otherwise, Walton writes to Mrs.
The die is cast: I have consented to return, if we are not destroyed. Thus are my hopes blasted by cowardice and indecision: I come back ignorant and disappointed. It requires more philosophy than I possess, to bear this injustice with patience. The characters of Browning are living human beings with their own thoughts and feelings, beliefs, and disbeliefs, perfections and imperfections.
Andrea Del Sarto is a flawless painter but the soul in him is lying dormant. The Duke in My Last Duchess is a person with an atmosphere of awe and terror about him and yet he is a lover of fine arts. The lover of Porphyria is a murderer and yet his crime does not inspire feelings of horror and disgust. Browning, and not Tennyson, is capable of handling such complex characters in as natural and effortless a manner as he has done.
The modern impressionists concern themselves with the sudden moments of human passion and with fleeting impressions on the senses. Thus, Browning anticipated impressionism much before its arrival. In this regard, Browning stands distinguished not only from Tennyson but also from his other contemporaries like Rousseau, Arnold and Morris in whom we can find no trace of modern impressionism. It also accounts for the greater popularity of Browning, once impressionism came to be recognised as an important aspect of modern literary art.
Not only this, but the images used by Browning are typically modern in character. He does not fly far away into the world of imagination. The theme of romantic escapism finds no place in his poetry. Rather, he takes his images from a purely urban setting and from the day —to- day life of men and women around him. For example in Evelyn Hope, Browning does not create an artificial atmosphere to produce an effect of gloom after the death of Evelyn Hope.
He talks of natural darkness and makes use of those which Keats and Wordsworth would have considered out of place. It is Browning the thinker that emerges from his poems. From this point of view, he is much ahead of Tennyson. The reader of today attaches greater importance to the thought content of a poem than to its sheer artistic beauty. He is a poet of big events and episodes, primarily of historical significance. Browning, on the other hand, is a poet of individuals and of events from the life of individuals.
He catches his characters at one of the most revealing moments of their lives and builds up their entire personality against the background of a single incident. Tennyson could not free himself from the established norms, whereas Browning bothered little about them and wrote in an independent fashion. Browning could, where he pleased, interweave among his lines literary reminiscences drawn from his vast reading but of, his method of conception was essentially his own, and his work did not readily amalgamate with the work of others.
The echoes of Shelley in his early poetry seem not quite in keeping with the context. He felt the incongruity and early learnt to rely upon himself alone. Thus, Browning is a trend-setter for modern poets who also make use of commonplace vocabulary of an urban dweller in their poetry. Prufrock, T. Eliot draws the image of a cat to give us an impression of the fog on window panes. Prufrock compares himself primarily with crawling creatures, thus making us feel the dehumanisation of his self. In The Second Coming , W. Yeats gives us an image of a half- beast half-man slouching and heading toward Bethlehem, thus announcing the advent of the second coming.
The modern poets take their images from the ugly and ordinary side of life, and Browning had started doing so much earlier. Thus, the poetry of Browning is more modern in appeal; than that of Tennyson in whom the reader fails that advanced poetic skill and technique, which is in abundance in the poetry of Browning. There is a wide variety of characteristics portrayed by Browning. With each, he manages to establish such empathy that we feel it is the fictitious character speaking and not Browning. Each monologue is a defence of the character, not a criticism or satire.
Hence, the poetic form of the dramatic monologue suits him to perfection. He wanted to investigate the whole province of the soul and the interplay of its reactions to the influence of environment. His monologues are all soul- studies. He chooses situations to unravel the confusion of motives- good, bad, and purblind, confession, sophistry and self- deception, every kind of complication and aberration of thought. There is a variety of choice in his dramatic soul- studies.
The death of his wife prompted Browning to write Prospice, but the sorrow is cast aside with the exuberant hope of meeting her in the next life. Evelyn Hope presents a lover by the side of girl whom he silently loved. Here again, the sorrow is not hopeless; he will wait for the next world where surely his love would be rewarded. Love is not a transient emotion for him-fickle and untrustworthy. It is permanent.
It will be rewarded ultimately, for life is a series of existences through many worlds. God creates love to reward it. Struggle is never in vain. Browning condemns hesitancy in making a decision to fulfil love, for example, The Statue and the Bust. Browning has exploited this heart and delved deep into them. Slowing Ray. The targeted creature must succeed on a The target dies if the ray reduces it to 0 hit points. DC 16 Dexterity saving throw. On a failed save, the target's speed is halved for 1 minute.
It can take only one legendary action at a time and only at the end of another creature's turn. The beholder regains spent legendary actions at the start of its turn. Eye Ray. The beholder uses on e random eye ray. Large undead, lawful evil DC 17 Dexterity saving throw. On a fa iled save, the target's speed is halved for 1 minute. The creature can repeat the saving Speed 0 ft. If the target is a creature, it must succeed Condition Immunities charmed, exhaustion, paralyzed, on a DC 17 Strength saving throw or the tyrant moves it up to 30 feet in any direction.
The target is restra ined by the ray's petrified, poisoned, prone telekinetic grip unti l the start of the tyrant's next turn or until Senses darkvision ft. Languages Deep Speech, Undercommon Challenge 14 11 , XP If the target is an object weighing pounds or less that isn't being worn or carried, it is moved up to 30 feet in any Negative Energy Cone. The death tyrant's central eye emits an direction. The tyrant can also exert fine control on objects with invisi ble, magicalfoot cone of negative energy.
At the start this ray, such as manipulating a simple too l or opening a doo r of each of its turns, the tyrant decides which way the cone faces or a container. The targeted creature must succeed on a DC 17 Any creature in that area can't regain hit points. Any Wisdom saving throw or fall asleep and remai n unconscious humanoid that dies there becomes a zom bie under the tyrant's for 1 minute. The target awakens if it takes damage or another command. The dead humanoid retains its place in the initiative creature takes an action to wake it.
Th is ray has no effect on order and animates at the start of its next turn, provided that constructs and undead. On a failed save, the creature begins to turn to stone and is restrained. It must repeat the saving Bite. Hit: 14 4d6 pierci ng damage. On a fa ilure, the creature is petrified until freed by the greater restoration spell or other magic.
Eye Rays. The death tyrant shoots three of the following magical eye rays at random reroll dup licates , choosing one to 9. If the target is a creature, it must three targets it can see within feet of it: succeed on a DC 17 Dexterity saving throw or take 45 l0d8 force damage. If this damage reduces the creature to 0 hit 7. The targeted creature must succeed on a DC points, its body becomes a pile of fine gray dust.
If the target is a Large or smaller non magical object or creation of magical force, it is disintegrated without a saving 2. The targeted creature must succeed on a throw. If the target is a Huge or large r object or creation of DC 17 Constitution saving throw or be paralyzed for 1 minute. The target can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success.
The targeted creatu re must succeed on a DC 17 Dexterity saving throw or take 55 10d10 necrotic damage. The targeted creature must succeed on a DC 17 The target dies if the ray reduces it to 0 hit points. Wisdom saving throw or be frightened for 1 minute. The death tyrant can take 3 legendary actions, using the Eye 4. The targeted creature must succeed on a Ray option below. The tyrant regains spent legendary actions at the start of its turn. A summoned spectator guards Condition Immunities prone a location or a treasure of its summoner's choice Senses darkvisi o n ft. If the item is stolen or destroyed before the years Bite.
Hit: 2 1d6- 1 piercing damage. It otherwise never abandons its post. The spectator shoots up to two of the following Glimmers ofMadness. Though it can speak, a magical eye rays at one or two creatures it can see within 90 spectator communicates primarily by way of telepathy. It feet of it. It can use each ray only once on a turn. However, even a brief conversation with 7. Confusion Ray. The target must succeed on a DC 13 a spectator is enough to reveal quirks in its personality Wisdom saving throw, or it can't take reactions until the end brought on by its years of isolation.
It might invent of its next turn. On its turn, the target can't move, and it uses imaginary enemies, refer to itself in the third person, or try to adopt the voice of its summoner. Like any beholder, a spectator views itself as the epitome of its kind, and it has an intense hatred of other spectators. If two spectators encounter one another, they almost always fight to the death. Freed from Service. When a spectator has fulfilled its service, it is free to do as it pleases. Many take up residence in the places they previously guarded, especially if their summoners have died.
If the target can't attack, it does nothing on its turn. The target must succeed on a DC 13 Constitution saving throw or be paralyzed for 1 minute. The target must succeed on a DC 13 Wisdom saving throw or be frightened for 1 minute. The target can repeat the saving throw at the end of each of its turns, with disadvantage if the spectator is visible to the target, ending the effect on itself on a success. Wounding Ray. The target must make a DC 13 Constitution saving throw, taking 16 3d10 necrotic damage on a failed save, or half as much damage on a successful one.
Create Food and Water. The spectator magically creates enough food and water to sustain itself for 24 hours. If the spectator makes a successful saving throw against a spell, or a spell attack misses it, the spectator can choose another creature including the spellcaster it can see within 30 feet of it. The spell targets the chosen creature instead of the spectator. If the spell forced a saving throw, the chosen creature makes its own save. If the spell was an attack, the attack roll is rerolled against the chosen creature.
Drinking that darkness from the soil, a blight carries out the will of ancient evil and attempts to spread that evil wherever it can. Roots ofthe Gulthias Tree. Legends tell of a vampire named Gulthias who worked terrible magic and raised up an abominable tower called Nightfang Spire. Gulthias was undone when a hero plunged a wooden stake through his heart, but as the vampire was destroyed, his blood infused the stake with a dreadful power.
In time, tendrils of new growth sprouted from the wood, growing into a sapling infused with the vampire's evil essence.
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It is said that a mad druid discovered the sapling, transplanting it to an underground grotto where it could grow. From this Gulthias tree came the seeds from which the first blights were sown. Dark Conquest. Its evil spreads through root and soil to other plants, which perish or transform into blights. As those blights spread, they poison and uproot healthy plants, replacing them with brambles, toxic weeds, and others of their kind. In time, an infestation of blights can turn any land or forest into a place of corruption.
In forests infested with blights, trees and plants grow with supernatural speed. Vines and undergrowth rapidly spread through buildings and overrun trails and roads. After blights have killed or driven off their inhabitants, whole villages can disappear in the space of days. Controlled by Evil. Blights are independent creatures, but most act under a Gulthias tree's control, often displaying the habits and traits of the life force or spirit that spawned them.
By attacking their progenitor's old foes or seeking out treasures valuable to it, they carry on the legacy of long-lost evil. Up close, these creatures reveal themselves as horrid plants whose conifer-like needles grow across their bodies in quivering clumps. A needle blight lashes out with these needles or launches them as an aerial assault that can punch through armor and flesh. When needle blights detect a threat, they loose a pollen that the wind carries to other needle blights throughout the forest.
Alerted to their foes' location, needle blights converge from all sides to drench their roots in blood. MP IRE:. While rooted, they resemble woody Senses blindsight 60ft. When it pulls its roots free of the ground to move, a twig blight's bra nches twist together to form a passive Perception 9 humanoid-looking body with a head and limbs. Languages understands Common but can't speak Challenge 1f8 25 XP Twig blights seek out campsites and watering holes, rooting there to set up ambushes for potential victims False Appearance.
While the blight remains motionl ess, it is coming to drink or rest. Huddled together in groups, indistingui shable from a dead shrub. Speed 10ft. Vine blights are the only blights capable of speech. Condition Immunities blinded , deafened Senses blindsight 60ft. Until thi s grapple ends, the target is restrained , and the blight can't constrict passive Perception 9 another target.
For the duration, that area is difficult terrain for non plant creatures. In addition, each creature Claws. A creature can use its action to make a DC 12 Needles. Bugbears are often found in the compa ny of their cous ins, hobgoblins a nd goblins. Even when Challenge 3 XP paid, bugbea rs are at best unreliable a llies, yet goblins a nd hobgobli ns unders ta nd that no matter how much Brute. A melee weapon deals one extra die of its damage when the bugbears might dra in a tribe of resources, these bugbear hits with it incl uded in the attack.
Heart ofHruggek. The bugbear has advantage on saving Followers ofHruggek. Bugbears worship Hruggek, th rows against being charmed, frightened , para lyzed, a lesser god who dwells on the plane of Acheron. In the poisoned, stunned, or put to sleep. Bugbears Surprise Attack. If the bugbear surprises a creature and hits it believe that when they die, their spirits have a cha nce with an attack du ring the first round of combat, the target takes to fight at Hruggek's side.
T hey try to prove themselves an extra 7 2d6 damage fro m the attack. Despite their intimidating builds, Multiattack. The bugbear makes two melee attacks. They a re fond of setting a mbushes a nd flee when outmatched. They are Morningstar. A wounded member of javelin. A melee wea pon deals one extra die of its damage when the bugbea r hits with it included in the attack.
Surprise Attack. If the bugbear surprises a creature and hits it with an attack during the first round of com bat, th e target takes an extra 7 2d6 damage fro m th e attack. Languages - Bulettes use their powerful Challenge 5 1 , XP claws to tunnel through the eaFth when they hunt. Heedless Standing Leap. The bulette's lo ng jump is up to 30 feet and its of obstruction, they uproot trees, cause hi gh jump is up to 15 feet, with or without a running start. When vibrations in the soil and rock alert ACTIONS a bulette to movement, it shoots to the surface, its jaws spread wide as it attacks.
Wandering Monster. A bulette ranges across temperate lands, feeding on a ny a nimals and Deadly Leap. If the bulette jumps at least 15 feet as part of humanoids it comes across. These creatures dislike its moveme nt, it ca n th en use thi s acti on to land on its fe et dwarf and elf flesh , although they often kill them before in a space th at conta in s one or more oth er creatures. Eac h of realizing what they are. A bulette loves halfling meat the th ose creatures mu st s ucceed on a DC 16 Stre ngth or Dex te rity most, a nd it is never happier than when chasing plump saving throw target's choice or be knocked prone and take halflings across an open field.
On a successful save, th e creature takes only half A bulette has no lair, but roams a hunting territory th e damage , isn't knocked pro ne, and is pu shed 5 fe et out of up to thirty miles wide. Its s ole criterion for territory is th e bulette's space into an unoccu pied space of the creature 's availability of food, and when it has eaten everything choice. If no unoccupi ed s pace is with in ra nge , the creature in an area, a bulette moves on. These creatures often instead fall s pron e in the bulette's space. All creatures shun bulettes, which treat anything that moves as food- even other predators and bulettes.
Bulettes come together only to mate, resulting in a bloody act of claws and teeth that usually ends with the male's death a nd cons umpti on. Arcane Creation. Some sages believe the bulette is the result of a mad wiza rd 's experiments at crossbreeding sn apping turtles a nd armadillos, with infusions of demon ichor. Bulettes have been thought to be extinct at different times, but a fter yea rs without a sighting, the creatures inevitably reappear.
Because their young a re almost never seen, s ome sages s uspect that bulettes maintain secret nesting grounds from which adults strike out into the world. The bullywug can breath e air and water. Foul Aristocracy. Bullywugs consider themselves Speak with Frogs and Toads. The bu llywug can commu nicate the right and proper rulers of the swamps. They follow simple concepts to frog s and toads when it s peaks in Bu llywug.
The bullywug has advantage on Dexterity leader- a self-styled lord of the muck. Bullywugs introduce Stealth checks made to hide in swam py te rrain. The bullywug's long jump is up to 20 feet and and endlessly vie to win their superiors' favor. A bullywug has two ways to advance among its kind.
The bullywug makes two melee attacks: one with pains to keep its criminal deeds s ecret, or it can find its bite and o ne with its spear. A bullywug that murders Bite. Invariably, such fine goods. Once a gift melee attack. Unruly Diplomacy. Bullywugs love nothing more than lording over those who trespass on their territories. Their warriors attempt to capture intruders rather than simply slaying them.
Captives are dragged before the king or queen-a bullywug of unusually large size- and forced to beg for mercy. Bribes, treasure, and flattery can trick the bullywug ruler into letting its captives go, but not before it tries to impress its "guests" with the majesty of its treasure and its realm. Struck with a deep inferiority complex, bullywug lords fancy themselves as kings and queens, but desperately crave the fear and respect of outsiders.
Amphibian Allies. Bullywugs speak a language that allows them to communicate over large areas by croaking like frogs. News of intruders or other events in the swamp spread within minutes across this crude communication system. Simple concepts in the language are understandable to frogs and toads. Bullywugs use this capability to form strong bonds with giant frogs, which they train as guardians and hunters.
Larger specimens are sometimes used as mounts as well. The frogs' ability to swallow creatures whole provides a bullywug hunting band an easy means of carrying prey back to their villages. A cambion is the offspring of a fiend usually a succubus or incubus and a humanoid usually a human. Cambions grow into ruthless adults Damage Resistances cold , fire, lightning, poison; bludgeoning, whose wickedness and perversion horrifies even the most devoted mortal parent. Even as a youth, a cambion piercing, and slashing from non magical weapons identifies its rightful place as an overlord of mortals.
It Senses darkvision 60ft. Challenge 5 1 , XP Pawns ofthe Mighty. A cambion forced to serve its Fiendish Blessing. The AC of the cambion includes its fiendish parent does so out of admiration and dread, but Charisma bonus. Cambions raised in the Nine Hells Innate Spellcasting. The cambion's spellcasting ability is serve as soldiers, envoys, and personal attendants to Charisma spell save DC The cambion can innately cast the greater devils.
In the Abyss, a cambion carries only as following spells, requiring no material components: much authority as it can muster through sheer strength and force of will. Spawn ofGraz'zt. The demon lord Graz'zt is fond of procreating with humanoids who have made pacts with fiends, and he has sired many cambions who help him sow chaos across the multiverse. These cambions are characterized by charcoal-black skin, cloven hooves, six- fingered hands, and unearthly beauty.
The cambion makes two melee attacks or uses its Fire Ray twice. Fire Ray. Hit: 10 3d6 fire damage. Fiendish Charm. One humanoid the cambion can see within 30 feet of it must succeed on a DC 14 Wisdom saving throw or be magically charmed for 1 day. The charmed target obeys the cambion's spoken commands. If the target suffers any harm from the cambion or another creature or receives a suicidal command from the cambion, the target can repeat the saving throw, ending the effect on itself on a success.
If a target's saving throw is successful, or if the effect ends for it, the creature is immune to the cambion's Fiendish Charm for the next 24 hours. These foul creatures thus Languages - hunker down in territories where death is plentiful Challenge 2 XP and other carrion eaters have limited mobility. Caves, sewers, dungeons, and forested marshes are their Keen Smell. The carrion crawler has advantage on Wisdom favored lairs, but carrion crawlers are also drawn to Perce ption checks that rely on smell.
Spider Climb. The carrio n crawle r can cl imb difficult surfaces, A carrion crawler roams on the hunt, its tentacles including upside down on ceilings, without needing to make an probing the a ir for the scent of blood or decay. In tunnels ability check. The carrion crawle r makes two attacks: one with of the darkness, even as they surprise potential meals its te ntacles and one with its bite. Whether in subterranean creature.
A carrion crawler might follow a light for 1 minute. Until this poiso n ends, the ta rget is paralyzed. Despite their great size, carrion crawlers tu rns, endin g the poison on itself on a success. When facing potential prey or intruders, a carrion crawler lets its poison do the work. Wilderness Nomads. Senses pass ive Perception 13 Languages Elvish, Sylvan Centaur migrations span continents and take decades Challenge 2 XP to repeat, so that a centaur tribe might not retread the same path for generations.
These long-ranging Charge. If the centaur moves at least 30 feet straight toward a patterns can lead to conflict when centaurs encounter target and then hits it with a pike attack on the same turn, the settlements of other creatures built along their target takes an extra 10 3d6 piercing damage. Mu ltiattack. The centaur makes two attacks: one with its pike Reluctant Settlers. A centaur that can't keep pace and one with its hooves or two with its longbow. Some such centaurs vanish into the wilderness and are never Pike.
Frontier settlements value the nature knowledge of their centaur Hooves. A trader might save the life of a wounded or an elderly centaur unfit for long travel, escorting it to a settlement where it can peacefully live out the rest of its days.
Chimeras were created after mortals summoned Demogorgon to the world. The Prince of Demons, unimpressed with the creatures that surrounded it, transformed them into horrific, multi-headed monstrosities. This act gave rise to the first chimeras. Senses darkvision 60 ft.
A chimera combines the worst Challenge 6 2, XP aspects of its three parts. Its dragon head drives it to raid, plunder, and accumulate a great hoard. Its goat head grants it a vicious, Multiattack. The chimera makes three attacks: one with its stubborn streak that compels it to fight to the death. When its fire breath is available, it can use the breath in place of its These three aspects drive a chimera to stake out a bite or horns. It preys on Bite. When it hunts, the chimera looks for easy ways to Fire Breath Recharge The dragon head exhales fire in a amuse itself. It enjoys the fear and suffering of weaker foot cone.
Each creature in that area must make a DC 15 Dexterity saving throw, taking 31 7d8 fire damage on a failed creatures. The monster often toys with its prey, breaking save, or half as much damage on a successful one. Though chimeras are far from cunning, their draconic ego makes them susceptible to flattery and gifts. If offered food and treasure, a might spare a traveler. They follow the ingrained directives of their Armor Class 16 1;1atural armor creators, as they have done since the dawn of time. Primeval Relics. In the primeval ages, aboleths ruled a vast empire that spanned the oceans of the world.
Therefore, Damage Immunities poiso n they created chuuls. Condition Immunities poisoned Senses darkvisio n 60ft. Chuuls Challenge4 1, XP were designed to endure the ages of the world, growing in size and strength as the eons passed. When the Amphibious. The chuul can breathe air and water.
However, these creatures Sense Magic. The chuul senses magic within feet of it at continue to do what they did for the aboleths, slowly will. This trait otherwise works like the detect magic spell but collecting humanoids, gathering treasure, amassing is n't itself magical. Chuul still guard the ruins of the ancient aboleth empire. They linger in silent observance Multiattack. The chuul makes two pincer attacks. If the of eons-old commands. Rumors and ancient maps chuul is grappling a creature, the chuul can also use its sometimes lure treasure seekers to these ruins, but the tentacles once.
The target is grappled escape DC 14 if it is a Large or smaller creature and the chuul doesn't have two other creatures grappled. One creature grappled by the chuul must succeed on a DC 13 Constitution saving throw or be poisoned for 1 minute. Until this poison ends, the target is paralyzed. Whatever riches that the explorers bring with them adds to the hoard guarded by the chuuls. Chuuls can sense magic at a distance. This sense couples with an innate drive that leads them to slay explorers, ta ke their gear, and bury it in secret locales aboleths dictated eons ago.
Waiting Servants. Although the aboleths' ancient empire fell long ago, the psychic bonds between them and their created servants remain intact. Chuuls that come into contact with aboleths immediately assume their old roles. Such chuuls redirect their compulsions to the service of the aboleths' s inister purposes. Languages Deep Speech, Undercommon Parallel rows of round, black eyespots run along its back Challenge 8 3, XP like buttons, and the ivory-colored claws on its cowl resemble bone clasps. Damage Transfer. While attached to a creature, the cloaker takes only half the damage dealt to it rounded down.
Red eyes glow above rows of sharp teeth, and a long False Appearance. While the cloaker rema ins motionless pendulous tail whips behind it. Opportunistic Predators. When hunting, cloakers glide through the shadows at a safe distance behind Light Sensitivity. While in bright light, the cloaker has groups of other creatures traversing the Underdark.
The cloaker makes two attacks: one with its bite as swiftly as possible, enveloping and devouring and one with its tail. While it feeds, a cloaker uses its swift, whiplike tail for defense, although it rarely takes a stand Bite. Cloakers' thoughts are alien to other cloaker is attached. While attached, the cloaker can make this life-forms, and they communicate with one another attack only against the target and has advantage on the attack through subsonic moans inaudible to most creatures.
At roll. A creature, including the target, can take its action audible, evoking sensations of doom and dread in to detach the cloaker by succeeding on a DC 16 Strength check. Cloaker Conclaves. Each creature within 60 feet of the cloaker that can hunting grounds, or developments that might affect hear its moan and that isn't an aberration must succeed on a their habitats. When this convergence is compiete, the DC 13 Wisdom saving throw or become frightened until the cloakers separate again. If a creature's saving throw is successful, the creature is immune to the cloaker's moan for the next 24 hours Phantasms Recharges after a Short or Long Rest.
The cloaker magically creates three illusory duplicates of itself if it isn't in bright light. The duplicates move with it and mimic its actions, s hifting position so as to make it impossi ble to track which cloaker is the real one. If the cloaker is ever in an area of bright light, the duplicates disappear. Whenever any creature targets the cloaker with an attack or a harmful spell while a duplicate remains, that creature rolls randomly to determine whether it targets the cloaker or one of the duplicates. A creature is unaffected by this magical effect if it can't see or if it relies on senses other than sight.
A dupli cate has the cloake r's AC and uses its saving throws. If an attack hits a duplicate, or if a duplicate fails a saving throw against an effect that deals damage, the duplicate disappears. These omnivores have a diet that consists of berries, nuts, flowers, and small animals such as Bite. They would be no threat to anything else if not on a DC 11 Constitution saving throw against being magically for their fierce and frenzied response to even a hint of petrified.
On a failed save , the creature begins to turn to stone danger. A cockatrice flies into the face of any threat, and is restrained. It must rep eat th e saving throw at the end of squawking and madly beating its wings as its head darts its next turn. On a failure , the out to peck. The smallest scratch from a cockatrice's creature is petrified for 24 hours. Their brilliantly colored wings and Armor Class 19 natural armo r gentle manner speak to their celestial origins.
Divine Caretakers. However, a number of couatls still Damage Resistances radiant watch over ancient power, await fulfillment of prophecy, Damage Immunities psychic; bludgeoning, piercing, and or safeguard the heirs of creatures they once guided and protected. Regardless of a couatl's task, it prefers to slashing from non magical weapons remain hidden, revealing itself only as a last resort. Senses truesight ft. Truth Tellers. A couatl can't lie, but it can withhold Challenge 4 1 , XP information, answer questions vaguely, or allow others to jump to the wrong conclusions if doing so is Innate Spellcasting.
The couatl's spellcasting ability is necessary to protect something, to keep promises, or to Charisma spell save DC It can innately cast the following hide the secret of its existence. A couatl can live for ages without At will: detect evil and good, detect magic, detect thoughts li ustenance, even surviving without air, but these 3jday each: bless, create food and water, cure wounds, lesser creatures can die of disease or the passage of time. A couatl can sense its end up to a century beforehand, but restoration, protection from poison, sanctuary, shield it has no insight into the manner of its demise.
The couatl's weapon attacks are magical. However, if its imminent death endangers the completion of its goals, it actively seeks Shielded Mind. The couatl is immune to scrying and to any out another couatl with which to produce offspring. The mating ritual of couatls is a beautiful and elaborate dance of magic and light, which results in ACTIONS a gem-like egg from which a new couatl hatches. Until this poison ends, the target is unconscious.
Another creature can use an action to shake the target awake. Until this grapple ends, the target is restrained, and the couatl can't constrict another target. Change Shape. The couatl magically polymorphs into a humanoid or beast that ha s a challenge rating equal to or less than its own, or back into its true form. It reverts to its true form if it dies. Any equipment it is wearing or carrying is absorbed or borne by the new form the couatl's choice.
If the new form has a bite attack, the couatl can use its bite in that form. Speed 20 ft. Wizards and warlocks of a dark bent use crawling claws as extra hands in their labors. Through dark necromantic rituals, the life force of a murderer is bound to its severed hand, Damage Immunities po ison haunting and animating it. If a dead murderer's spirit Condition Immunities charmed , exhaustion, poisoned already manifests as another undead creature, if the Senses bli ndsight 30 ft. To this end, ritualists and their servants frequent public executions to gain possession of suitable hands, or make bargains with assassins and torturers.
Creator's Control. A crawling claw can't be turned, nor can it be controlled by spells that control undead. These foul monsters are entirely bound to the will of their creator, which can concentrate on a claw in sight to mentally command its every action. If the crawling claw's creator doesn't command it, the claw follows its last command to the best of its ability. Commands given to a crawling claw must be simple. A claw can't be tasked with finding and killing a particular person, because its limited senses and intelligence prevent it from tracking and picking out specific individuals.
However, a command to kill all creatures in a particular locale works. A crawling claw can easily feel out the contours of keys and doorknobs, crawling from room to room on a blind killing spree. Malign InteiHgence. A crawling claw possesses little of the intellect and memories of the individual of which it was once a living part. The hate, jealousy, or greed that drove that person to murder lingers on, however, amplified by the claw's torturous fragmented state.
Left to its own devices, a crawling claw imitates and recreates the same murderous acts it committed in life. Living Claws. If a crawling claw is animated from the severed hand of a still-living murderer, the ritual binds the claw to the murderer's sou l. The disembodied hand can then return to its former limb, its undead flesh knitting to the living arm from which it was severed. Made whole again, the murderer acts as though the hand had never been severed and the ritual had never taken place.
When the crawling claw separates again, the living body falls into a coma. Alicia then made the journey to Evermeet and met with the elves there. With their help she was able to then rescue her father from the sahuagin. Finally, an uprising of giants threatened the Isles as the forces of the evil Realmsian gods tried one more gambit to bring the Moonshaes under their sway.
Throughout these events Alicia's sister, Deirdre, had become the pawn of these new gods, and it fell to Alicia to take the life of her only sister in order to save the Moonshaes for its people and the returned Earthmother. After this latest threat to the Moonshaes was quelled, Alicia's mother announced her intent to retire and live the life of a serene and solitary druid. Robyn was joined by King Tristan, who bequeathed the leadership of the Isles to his daughter, who took Keane as her consort.
She takes a romantic interest in Phaurun and constantly visits him. After his death she finds his pinkie finger and takes it with her. It's later revealed that she is pregnant with Phaurun's child. Aoth Fezim is a war mage and captain of the Griffon Legion of Thay. He is infected by spellplague, and he now lives a very long life and sees a little of the future and danger before it happens.
Aoth is of Mulan descent although he doesn't look like it with his blunt features and short, stocky frame. His body and hands show the intricate tattooing of a wizard. He wears badges revealing him as a rider of the elite Griffon Legion. His weapons of choice are his falchion, which he carries strapped across his back, and his long spear that serves as warrior's lance and wizard's staff. Aoth can summon a flare of silvery light from the head of his spear or a wall of violet flame.
He has spells to sober himself on will. Aoth can enhance his nightvision through a spell and cast emerald darts from his fingertips. He can conjure darts of blue light from his fingertips that veer to compensate a victim's dodging movements and seldom miss their intended target. Aoth can also conjure a crackling, forking flare of lightning. Aoth shares a special bond with his familiar, the griffon Brightwing and then Brightwing's grandson Jet. Through their psychic link he can use Brightwing's enhanced senses like his own. Because the purity of his bloodline was suspect, none of the orders of the Red Wizards of Thay had ever thought to recruit him.
Araevin also had a hawk familiar named Whyllwyst , whose cause of demise is not explained. During this time he became engaged to Ilsevele Miritar , daughter of Seiveril Miritar a sun elf lord of Elion and a high priest of Corellon Larethian , but they decided to wait twenty years before getting married. Around the time when the Dlaedrageths awoke from their ancient slumber, Araevin was two hundred and sixty-six years old.
Leader of The Chill , a hobgoblin mercenary group. Arilyn Moonblade is a half-elven "assassin" although not of any assassin class, and certainly not evil introduced in the Songs and Swords series of novels by Elaine Cunningham. She has a very youthful appearance despite her age, and pointed ears, because of her elvish lineage, and a slender body and beautiful face, and intense blue eyes with flecks of gold.
She was raised in Evereska , but due to her half-human nature she was never fully accepted by the elves. After her mother, princess Amnestria of Evermeet, daughter of queen Amlaruil, was killed, she takes up her mother's moonblade and studies swordsmanship at the academy in the city. Adopting the surname Moonblade because of her sword she was unaware of her royal family and true surname she becomes an assassin for the Harpers a challenger-to-combat, calling targets out and defeating them in honorable, open combat, not stalking and killing them from concealment.
She eventually leaves the group after deeming a mission to rescue a noblewoman to not be worth pursuing. She later marries Danilo Thann and connects with her family on Evermeet. Arilyn's father is Bran Skorlsun , an influential Harper ranger with a personal grudge against Khelben Arunsun who even eventually succeeded in driving Khelben from the Harper ranks.
Arilyn's moonblade is a powerful magical hereditary elven sword, used to determine the ruling family of Evermeet, which kills any unsuitable wielders and binds its wielders to it in service of the elven people, even after death though for a time she lifted the killing restriction for Danilo, binding him to it, as well.
She eventually released him from this, as she did not wish to curse him with being bound to the sword even after death, as she will be. The moonstone in the hilt enables each successive wielder, signified by magical sigils, to grant a power to the sword over a period of time. It can produce abnormally fast swings, warn of danger by glowing or through dreams, disguise the wielder, open the elfgate a magical portal to the gardens in the palace of Evermeet and call forth a shadow version of herself wielding the sword. Arilyn's mark grants the blade the ability to warn her of when the wild elves of the Wealdath have need of a hero's sword.
Arklem Greeth is a lich that appears in the book The Pirate King. He was single-handedly defeated, though not without trouble, by the wizard Robillard in the hull of a sinking Sea Sprite. He is a barkeeper that owns the Cutlass in the city of Luskan. As the barkeep in the Cutlass he served as a mentor and employer to Wulfgar. He also mentored a young woman, Delly Curtie, and employed her as a waitress. Athrogate is a dwarven warrior of some repute in the Bloodstone Lands. Athrogate wears a broad belt depicted with metal lightning bolts which is rumored to be a belt of storm giant strength.
He has the stout and powerful build of a typical dwarf. He wears his black beard parted in the middle, two long braids of straight hair running down to mid-chest, each tied off at the end with a band set with a trio of sparkling blue gemstones. His bushy eyebrows nearly cover his brown, almost black eyes. He has large ears. Athrogate is well beyond years old. He wears a suit of armor, part leather, part plated, and covered with a myriad of buckles and straps, his twin morningstars tied in an "X" at his back, their handles reaching up and wide beyond the back of his bushy hair.
He speaks the goblin tongue though heavily accented. He fights with twin gray Glassteel morningstars, their spiked metal heads whipping at the ends of adamantine chains. He calls these weapons Cracker and Whacker: on command the left-hand one of them, Cracker, emits a dark reddish and chalky fluid from the small nubs on the striking ball, the ichor of a rust monster , which on contact with other metal corrodes it. The right-hand morningstar, Whacker, coats itself with a clear, blue-gray and oily liquid known as oil of impact.
Using thus enhanced weapons with first left then right strikes, Athrogate smashes anything from a portcullis to iron golems into rustflakes. He has faced Drizzt Do'Urden and Artemis Entreri, both highly capable warriors, in single combat once. He appears in books written by R. The Baenre family name is used by a number of characters in the books of R. A family born to the drow race a component of R. Salvatore's series Forgotten Realms , including several subseries the Baenre family is the family which has reigned in the fictional Underdark city of Menzoberranzan for over years.
House Baenre is a family of powerful schemers and manipulators that holds more power than any other house in Menzoberranzan. Salvatore has made the Baenre family the bastion of power for his creation, Menzoberranzan, keeping it so for over 2, years. Fiercely devoted to the drow goddess Lolth , as all houses in the Menzoberranzan society are, House Baenre is led by Matron Mother Triel Baenre, a shrewd priestess of Lolth who succeeded her slain mother Yvonnel.
Menzoberranzan is a city ruled by backstabbing and ambition, and House Baenre thrived in it, holding the greatest favor of Lolth longer than any other family in Menzoberranzan history. As such, the family was successful at keeping hold of the prestige deceased Matron Mother Yvonnel Baenre succeeded in acquiring and continually supporting throughout her over 2,year reign. Andzrel , a cousin of Triel and the current weapons master of House Baenre, may be a mere shadow of Dantrag or Berg'inyon with his blade, but he knows his way around a melee.
Bladen'Kerst , daughter of Yvonnel Baenre and second eldest to Triel. Sadistic, unpredictable and uncontrollable, she was slain by Gandalug Battlehammer during the invasion of Mithril Hall. Doquaio Secondboy of Yvonnel Baenre. Killed at the sacrificial birth ceremony of third son Jarlaxle. Yvonnel tried to sacrifice Jarlaxle to Lady Lolth but failed due to the telekinetic interference of House Oblodra. Doquaio died when he picked up Jarlaxle and all the stabbings of Yvonnel flowed into him through the kinetic barrier. Grendan , a 10th year student of Sorcere during the War of the Spider Queen, known for being good with illusions.
He is involved with Noori. Jeggred , a draegloth, stands by his mother Triel's side as bodyguard, and in the face of Lolth's Silence, has joined his aunt Quenthel in her search. He kills Ryld Argith as ordered by Danifae and is eventually sacrificed by Quenthel to the reincarnated Lolth. He was killed during the events of the novel Extinction , when several Baenre mages tried to cast spells on an enemy, only to have them reflected back upon themselves.
Merith , a psychotic ex-commoner, was adopted for her clerical talent. Arguably as sadistic as the late Bladen'kerst, she knows nothing of intrigue and protocol. Nauzhror , Triel's first cousin once removed. He is pudgy and a Master of Sorcere who sports a large beard, grown with a hair growth cantrip. He was Archmage during Gromph's brief absence. Noori , a female 10th year student of Sorcere during the War of the Spider Queen. Noted by Gromph to have abandoned priesthood, despite being high-born, in order to study divination magic.
Grendan is her lover. Sos'Umptu , the quiet and unambitious sister of Triel and Quenthel, tends the Baenre chapel. Tiago , the impulsive, hot-headed, domineering grandson of Dantrag Baenre, he wields a magical sword and shield forged my master blacksmith Gol'fannin in the primordial fires of Gauntlgrym, re-christened "Q'Xorlarrin", and lives for the day when he meets Drizzt face-to-face in mortal combat.
Vendes , the now-deceased daughter of Yvonnel Baenre. Vendes was the House's master torturer, and earned the nickname "duk'tak" unholy executioner. After she finished with her victims they were turned to stone and displayed around the house. Drizzt Do'urden killed her while escaping from House Baenre's captivity. Vrellin , One of Triel's nephews. Unusual for the fact that he wears no armor in battle, only a hand crossbow strapped to his left wrist, loaded with magical, exploding bolts.
Zal'therra is a priestess and Triel's cousin. She also commands the Army of the Black Spider. Zoran , a 2nd year Sorcere student during the War of the Spider Queen. Noted by Gromph as being unreliable and prone to making mistakes. Bareris Anskuld is a human bard , later undead. As a bard he worshippes Oghma and Milil. He appears in The Haunted Lands trilogy. Though Bareris is truly Thayan , he stopped shaving the wheat blonde hair from his head.
He can move with a duelist's catlike grace. Bareris weapon of choice is the sword swinging at his hip in a worn leather scabbard and, in a way, the silver-stringed yarting slung across his back. He also carries a small dagger. Bareris later gives his yarting to a band of gnolls as fee for their help in his pursuit of Tammith' captors. By singing a quick phrase and sketching an arcane figure in the air with a free hand, he can call forth a plume of noxious vapor to cloud an opponent.
He can also sing a floating orb of light into being to light his way. He is killed in battle against Szass Tam. Belhifet is a balor , one of the most powerful classes of demons. In the events of the Icewind Dale story, Belhifet seeks to conquer the home plane from which he was banished. To do this, he assembles an army, in order to conquer Easthaven and re-open a nearby portal to the Abyss. He is confronted by the player, but manages to flee and, in the process, capture Easthaven in preparation for opening the portal. The player then penetrates the crystal tower surrounding the temple and defeat Belhifet before the gate is opened.
According to the story, Belhifet is banished to the Abyss, not killed. He would not be able to walk Faerun again for a hundred years afterwards. During his time on Faerun , Belhifet managed to impregnate the elf Ilmadia, who gave birth to daemonfey twins, Isair and Madae. His first appearance is in Homeland , the first book of the Dark Elf Trilogy , and he reappears in Exile , the second book in the trilogy, as well as Starless Night and Siege of Darkness , both part of the Legacy of the Drow quartet.
He belongs to a race called svirfneblin deep gnome and lived in the Underdark city Blingdenstone until its destruction by the drow and their demonic allies as revenge for their alliance with Drizzt to defend Mithral Hall. According to the campaign settings book " Silver Marches " after Blingdenstone's destruction, he led some survivors to Mithral Hall. Berg'inyon, the youngest son to Yvonnel, is a fighter of great prowess, outmatched only by Drizzt Do'Urden , Artemis Entreri , and his elder brother Dantrag Baenre.
He is described as a typical drow with high ambitions and no sense of morality. Berg'inyon, along with Kelnozz of Kenafin, is introduced as a classmate of Drizzt in Melee Magthere, where he is constantly ranked below Drizzt, much to his dismay and to his mother's anger. After graduating Melee Magthere, he commands House Baenre's lizard riders, and after the death of Dantrag, becomes weapons master as well.
After the drow retreat from their assault on Mithral Hall , due to the instability that would likely plague House Baenre after the disastrous failed conquest of Mithral Hall and the likelihood that Triel would soon give birth to a son she would groom to replace Berg'inyon as the weapons master, which among the drow would likely mean Berg'inyon's death , Berg'inyon chooses to accept Jarlaxle 's offer to join Bregan D'aerthe as a lieutenant of the renegade drow band. When Crenshinibon begins to cloud Jarlaxle's judgment, he joins Rai-guy Bondalek , and Kimmuriel Oblodra in their attempt to usurp control of Bregan D'aerthe, but in the ensuing conflict Berg'inyon faces off against Artemis Entreri in single combat due to Berg'inyon's desire to fight the one considered Drizzt's equal; however, Entreri proves to be more skilled than Berg'inyon and slays him.
A powerful priestess of Lolth , she was angry and brutal, and she always punished infractions quickly. She killed her mother, Malice Do'Urden when she learned that her mother Malice had not successfully completed Zin-Carla, the highest gift of Lolth Drizzt refers to it as Lolth's greatest lie. She had little time to savor her power, for house Do'Urden was attacked immediately after by house Baenre. She was the last Matron Mother of House Do'Urden, even if only for a few moments, in the comics Jarlaxle killed her himself, stating that he never liked her to begin with. In the books her killer is unknown.
Salvatore and a minor character in the Drizzt Saga. The character was created specially for Cleric Quintet, after six Drizzt books were completed — as Salvatore wrote in his introduction, " We were done with Drizzt. Or at least, we thought we were ". Mary Kirchoff proposed that the protagonist should be a cleric. Salvatore invented a concept of spiritual journey for his character, who initially treats his religion as just a lifestyle, but gradually becomes more tied to his god, Deneir.
Standing 6 feet tall and weighing a bit less than pounds, Cadderly is a man in his earlys with striking gray eyes and curly brown hair. He is handsome and has a sincere, warm smile on his boyish face. If he is angered, his glare can be unrelenting. Near the end of the series, a new cathedral called 'The Spirit Soaring' was being constructed. Cadderly channeled the power of his god to help the construction. This caused him to age rapidly. By the time the church was completed, his body was as that of a year-old man. But as a reward from Deneir, over the course of several years, Cadderly had gradually returned to his normal age.
Years later he was said to look younger than his year-old son. As he was growing up at the Edificant Library in the Snowflake Mountains , Cadderly was a likable young man who was intensely curious about life, living, and things unusual. He was not particularly interested in learning spells or combat techniques; however he is quite good at wrestling.
Now Cadderly is a changed person. He is so serious about being the Chosen of Deneir that he has made it his foremost commitment, greater even than that to his beloved Danica. He is still warm and gentle, and horrified by death and destruction, although his experiences have tempered this trait.
For example, while he had nightmares about killing the priest who unleashed the chaos curse, he does not give the death of his father or the destruction of the vampire Kierkan Rufo a second thought. Cadderly believes in justice tempered with mercy, as evidenced by when the wizardess Dorigen was helpless before him. She had caused great destruction and his friends urged him to kill her, but the young priest could not. He broke her fingers with his walking stick instead, so that she could not cast spells.
His act of compassion would prove to be for the better, as Dorigen later became a powerful ally and friend. Only the threat of the most potent evil can distract Cadderly from his task of completing the Spirit Soaring. He works hard at it and does not say much. Those who are evil or who have evil intentions, however, will be noticed. One of Cadderly's abilities is to see images on the shoulders of people; these images replicate the thoughts and desires of their owner.
Hence an assassin will be seen as having devilish, snapping beings with dripping, wicked black claws. A man who is thinking about his beloved wife will be seen as having an image of a happy lady cuddling their child. Cadderly never intended to become embroiled in combat as a priest of Deneir. His spindle-disks, essentially primitive Yo-Yo's used as weapons, which he crafted after reading about in an old book, were originally intended for amusement. Similarly, his crossbow armed with Oil of Impact darts was meant to be used for blasting obstacles rather than for combat.
The course of his adventures, however, made fighting a necessity. When he fought, he preferred to let allies who had a better grasp of strategy and tactics do their thing. This is not to say that he was a coward. He could use his spindle-disks to disarm or incapacitate opponents, and against undead he did not hesitate to use his explosive darts. When he killed the evil priest Barjin with a dart, it was an accident, and one that preyed on Cadderly's mind for a long time.
As he got more experienced, Cadderly was forced more often to resort to melee weapons, such as his magical ram-headed walking stick. Eventually his connection with Deneir became so powerful that spells became his most potent weapon. As the Chosen of the Father of All Literature and Image, Cadderly does not need to acquire magic in conventional ways such as praying in advance. Through the Song of Universal Harmony, he can access any spell he so chooses at the casting time. He has faced foes such as drow, vampires, greater demons, ancient dragons on two occasions , even evil artifacts such as Crenshinibon and Ghearufu , yet each time emerged victorious.
Cadderly's ram-headed walking stick was a multipurpose magical weapon. The head was made of silver and it served well in melee combat as a bo stick, or he can remove the ram-head end and use the hollow stick as a blowgun. It has been magically enchanted by a wizard friend of his; a blow with it can have bone-shattering results.
The walking stick was destroyed, but could easily have been replaced. His bandolier holds a maximum of 50 unusual crossbow bolts: darts with a small vial of explosive Oil of Impact inside each one, constructed so that the vial is crushed and the oil explodes when the dart hits a target. Cadderly also has a tube with a continual light spell cast on a glass disk inside of it. An adjustable closure on one end of the tube allows him to focus the light into a narrow beam or expand it to brighten a large area an invention of Cadderly's, a magic-based flashlight.
Cadderly was the son of Aballister Bonaduce and an unknown mother. Aballister was a highly talented wizard, but also obsessed, and held an unhealthy interest in dark magic. He drove his power to its limits, and his limits of control. One day, he finally went too far; he conjured a Mordenkainen's Sword that killed his wife and was driven from the then Edificant Library. Cadderly remembers his mother's face, but almost nothing else, including her name. The Headmaster, Avery, took Cadderly under his wing, being like a foster father to him.
The Headmistress of the Deneir order, Pertelope, being like a foster mother to him. Thus Cadderly lived a carefree life at Edificant Library for his childhood. Now almost twenty years later came the Time of Troubles DR , and Cadderly's father Aballister encountered the avatar of the Goddess Talona, who gave to him the name of an imp of the abyss, Druzil, and told Aballister that he had information that would grant him great power.
She was referring to the potion called the chaos curse the Ultimate Poison , a recipe Druzil had found in an ancient tome while in the abyss. It became his obsession to create the potion to please Talona and grant him the ability to conquer the region.
Aballister spent two years gathering ingredients for the potion, sacrificing many lives in his quest [ citation needed ]. When completed, after testing it on a member of the fighters sect of castle trinity who then became enraged and challenged the leader of the sect in an unbelievable rage, and continued fighting even after his brain had been skewered with a dirk through the top of his skull; he ultimately lost the fight he named it Tuanta Quiro Miancay , translated meaning the Most Fatal Horror , the title of the highest priest of Talona, mostly as an insult to Barjin, his primary rival in the priest sect of castle trinity, ranking the potion above the priest himself in Talona's eyes.
When the potion was concocted, the chief priest of the evil Castle Trinity, Barjin, demanded the right to strike with the potion. After placing a clerical spell upon the bottle that made it impossible for someone who is not innocent to open it, he brought it to The Edificant Library and tricked Cadderly into opening it. He placed it in the cellars of the Edificant Library, where its vapors spread throughout the library, causing those inside to act without inhibition coupled with a Suggestion magical charm for each person to act on his or her most secret desire, except the one who released the potion, namely Cadderly himself.
Barjin made his way to the catacombs of the Edificant Library and loosed the potion. This caused an invisible mist to seep upward, affecting all of the library's residents and visitors, causing them to indulge in their most audacious fantasies. It took the combined efforts of Cadderly, Danica, the Bouldershoulder brothers, and a heroic druid named Newander to destroy Barjin and a host of undead that he had summoned to guard the cursed bottle.
The bottle was neutralized by immersing it in holy water and warding it against further intrusion. In the final battle against Barjin, Cadderly accidentally killed the evil priest with a crossbow bolt anointed with Oil of Impact from his hand crossbow which was a re-invention of his from the design of a drow hand crossbow.
Due to Cadderly's innocent nature, the accidental murder brought him much guilt and inner turmoil which took him a great deal of time to resolve. Following the defeat of Barjin, Aballister's position in Castle Trinity was unchallenged. Aballister at first had mixed feelings about Barjin attacking the library, presumably at least in part because of his son's residence there, but as Cadderly grew in power and as a direct opponent to his own plans, Aballister became increasingly enraged with him as he became more and more of a threat.
Cadderly was filled with remorse and revulsion after killing Barjin and for a time showed an aversion to any killing whatsoever, even of enemies. As he and his companions routed a major offensive by the armies of Castle Trinity in the elven wood of Shilmista he grappled with the moral questions that plagued him, choosing not to kill the powerful sorceress Dorigen, who had accompanied the evil host's assault, when he had the chance.
Instead he merely stripped her of her magical items and broke her fingers to prevent her from performing the gestures that accompany most spellcasting. Never one who was overly concerned with the rituals or magical spellcasting of his order, Cadderly became ever more confused as new powers began to assert themselves to him in the battle for the elven home. After the battle was over, Cadderly left the forest to explore some of the questions assaulting him, and began to find his answers in the Tome of Universal Harmony , the holy book of his order, that of the god Deneir.
While Cadderly's lax attitude toward the rituals of his order earned him much disapproval within the library's structured hierarchy, Deneir apparently approved of Cadderly's ever-questioning, ever-learning, ever-inventing nature, and had made him one of his Chosen. By continually reading from the tome, Cadderly began to tap into the raw power of Deneir, which came in the form of a constantly flowing melody in his mind, which he was able to access, first by singing along with it, and eventually by running it through his mind. Becoming increasingly concerned with the threat Cadderly posed to his plans, Aballister hired a savage and efficient band of assassins to kill him, to Dorigen's horror.
As he and his friends dealt with the assassins, known as the Night Masks, after his life, Cadderly grew more and more in tune with the song of his god, and similarly grew in power, eventually killing nearly all of the assassin band, including an assassin named Ghost who would possess his victims using a powerful and evil magical device known as the Ghearufu.
In so doing they freed from Ghost's possession a Firbolg named Vander who joined with them to exact vengeance and lead them to Castle Trinity. Making a stop back at the Edificant Library before proceeding in his quest to take on Aballister and Castle Trinity, Cadderly met with his mentor, who encouraged him that his path was the correct one. This, combined with his increasing faith in Deneir, as well as his own powers, led him to the drastic action of magically dominating the mind of the library's dean to prevent him from interfering with Cadderly's course. He decides also to take with him the Ghearufu , knowing that it must be destroyed rather than to risk the library's scholars from studying the evil artifact and being unable to resist its temptations.
Several events take place where Rufo betrays his companions on three separate occasions, the third that costs the life of Avery Schell Cadderly's mentor, and essentially his surrogate father. After Cadderly learns of the betrayal costing the life of Avery, he curses Rufo with a mark of Deneir: a symbol of a broken candle above a closed eye, a variation of the holy symbol of Deneir.
This brand caused a terrible smell. Rufo is informed that any attempt to cover the mark will cause it to burn through his skull until he is dead. Cadderly then follows the events and kills Aballister. Druzil, after feeling the pain of Aballister's death, stumbles upon Rufo and convinces him to return to the Edificant Library, telling him the chaos curse will give him power. Druzil unthinkingly called the mix a 'potion' and Rufo imbibed the potion and began vomiting up his blood until he was dead. He kills nearly everyone in the Edificant Library until Cadderly returns.
After several encounters in which there is no clear winner, Cadderly finally rids the Edificant Library of the Chaos Curse, Rufo, and his minions. The Edificant Library is permanently desecrated. Cadderly calls upon Deneir and destroys the library, after retrieving all of the irreplaceable books and artifacts, and over the course of 5 years, creates The Spirit Soaring.
Crenshinibon is the true name of the crystal shard, first mentioned in R. Salavatore's "The Crystal Shard". Cadderly first learned of the artifact when Drizzt Do'Urden came to the Spirit Soaring in search of a priest, hoping to learn the whereabouts of his father Zaknafein. Cadderly assisted Drizzt by dragging the name of Errtu from his old enemy Druzil.
After learning about Crenshinibon, the priest agreed that he would locate a way to destroy it in the event that Drizzt could bring it to him. However, it was later taken from Drizzt by Jarlaxle, leader of the drow mercenary band, Bregan D'aerthe. Ironically, two of the major villains, Jarlaxle and Artemis Entreri , took the Crystal Shard to Cadderly, and asked it to be destroyed. At first, Cadderly and Danica just wanted Entreri to hand the Crystal Shard over, but he claimed he is the only one that he knows can ignore the call of Crenshinibon.
Together with Pikel, Ivan, Danica, Jarlaxle, and Entreri, the six formed a most unlikely temporary alliance, and bore Crenshinibon to the dragon Hephaestus to be destroyed by its breath. They also needed Jarlaxle because the sentient artifact had to be engulfed completely in a magical darkness, and then burned by the fire of an ancient and powerful Red Dragon. The dragon, of course, was not so easily manipulated, and at the same time, Jarlaxle's former mercenary underlings, Rai-Guy Teyachumet, from Ched Nasad, along with Berg'inyon Baenre and Kimmuriel Oblodra, both from Menzoberranzan, also wanted the shard.
In the end, Artemis Entreri killed Berg'inyon, and, while Rai-Guy held the shard, he and an Ilithid, Yharaskrik, who had secretly been in league with Kimmuriel to destroy the evil artifact, were engulfed by a globe of darkness, created by Jarlaxle, and so, Rai-Guy and Yharaskrik were brutally burned, and Crenshinibon was destroyed, when Hephaestus blew his mighty fire. Subsequently, Hephaestus was blinded by the release of magical power that occurred when Crenshinibon was destroyed. After the fall of Mystra's Weave, the joining of Yharashrik, Hephaestus, and the liches of Crenshinibon into the Ghost King dracolich occurred.
After Drizzt and Cadderly, gifted with divine magics of an unknown source but supposedly Deneir who is trapped in the breaking Weave, strike the Ghost King a blow that forces it to return to the Plane of Shadows, Cadderly uses Catti-brie as a conduit to the realm and fights the Ghost King, defeating the sentient force in the Plane, while absorbing its essence. To protect from the return of the dracolich, each night Cadderly as the new Ghost King circles Spirit Soaring in eternal service, creating an entire circuit many times each night, sustaining only until the next night, to keep the planar opening between the Prime Material Plane and the Plane of Shadows blocked and the dracolich trapped and unable to leave the area, though it has not returned yet.
Captain Deudermont commands the ship Sea Sprite , and is a tall, refined man. By his look, you would expect to find him amongst the Lords and Ladies during his shore time, but he cares about his crew. He typically spends his time keeping an eye on them, and making sure they stayed out of trouble. He features in novels by R. Drizzt Do'Urden and Wulfgar first met him in Waterdeep when they were trying to secure passage to Calimishan looking for Regis.
Several years later, Drizzt and Catti-Brie spent many years as part of Deudermont's crew. While being escorted by Drizzt and Catti-Brie, he is attacked by a doppelganger that attempts to take his place as the captain of his ship. Deudermont is almost unshakeably loyal to his crew, and expects that loyalty in return.
When Drizzt arrives to sail with the Sea Sprite, it's under a mask which gives him the appearance of a surface elf. When Drizzt becomes unmasked during a battle Deudermont and his crew accept him with little hesitation seeing his true character. In Spine of The World Deudermont is nearly killed in an assassination attempt, in which Wulfgar is blamed. He survives however and speaks to free Wulfgar. Deudermont returns to action in The Pirate King where he attempts to eliminate the corruption found in Luskan at the hands of pirates and, most notably, Arklem Greeth, the lich who controls the Hosttower of the Arcane, aiding in their destruction only to have the high captains stage an attack on those loyal to his claim as governor of Luskan.
Deudermont ultimately finds his end during the battle for the city against the high captains, killed by the most powerful, Kensidan, who uses his cloak to turn into a large crow with razor sharp talons and beak, and strikes a fatal blow before the pirate Maimun came to stop Kensidan from finishing the captain off. Though Maimun attempted to console the captain for what he believed damning choices made he had made for Luskan and its people, he ultimately dies with regret and guilt. Cireka is a character in Forgotten Realms: Demon Stone. She is the general of a Githyanki army who wishes to take over the realms.
She uses a powerful sword that can transport matter between planes. Ygorl wishes to take this sword from her. Little is known about the history of this character. The Companions of the Hall are created by R. The Cowled Wizards are a secret organization based in the city of Athkatla. Their main job is to find and destroy "deviant" wizards and sorcerers , and are completely separate from the ruling Council of Six in Athkatla.