II. Character Types and Cosmological Entities

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​A. External Archetypes

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Lafferty does not treat archetypes as psychological products. They do not arise from inner mental states or from individual subconscious activity. Instead, they appear in his fiction as outside forces—ontologically real, active, and beyond easy avoidance, though characters may shift between roles or embody multiple archetypes. Characters are buffeted by their basic presence and strong influence. The members of the Dirty Five are not only compared to mythic figures but openly named as such. They are the Argonauts (Iason, Orpheus, Peleus, Meleager, Euphemus) and other figures from myth and legend, including Dionysus, Apollo, Mercurius, Friar Tuck, and others. These are linked to Finnegan, Hans, Vincent, Henry, and Casey, who occupy these roles not as metaphors but as fixed realities. This technique, presenting archetypes as ontologically potent external realities rather than internal psychological symbols, forces the reader to engage with mythic structures as inescapable forces shaping character destiny. It amplifies the cosmic scale of the narrative while questioning conventional notions of individual agency and psychological motivation, suggesting that identity itself might be participation in, rather than generation of, these foundational patterns.

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In the “Promantia” of The Devil is Dead, Lafferty writes one of his best known lines: “Monstrous and wonderful archetypes are not inside you, not in your own unconsciousness... you are inside them, trapped, and howling to get out” [D:7]. Here, the mental is redefined as part of a broader system. Conflict with figures such as the Devil (Papadiabolous [D:23]), giants under Duffey’s control [M:5, M:15], or mermaids like Anastasia [D:34 to 36] is not symbolic of inner turmoil. These are face-to-face meetings with forces that exist apart from the self. The Argo [M:403 to 405] is not only a ship but also a theological object that crosses the boundaries of known reality.

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Certain locations also carry this external weight. The "Green Islands" [A:45] and the "Land of the Cyclops" [A:189] serve as fixed archetypal places. Even bodily states such as different kinds of "flesh" or "blood" reflect given forms rather than inner traits. The Devil is Dead begins with a statement of this view. Its opening, called the “Promantia,” does not offer a full myth or symbol system. Instead, it presents a “structo set,” a group of separate elements: the Devil, the ogress, the mermaid, the buried body, the marked wrist, and the suitcase [D:6 to 7]. Readers are asked to arrange and make sense of these pieces, but also to recognize that they may themselves be involved, as possible victims, as referred to in the mention of the “different flesh” [D:7].

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This warns the reader. It suggests that stories, especially those built from such real and fixed shapes, come with risk. Lafferty removes the idea of the archetype from the inner world and places the reader inside its range. The result is a new view of story itself: not only as structure or symbol, but as a field that holds the reader in place, with both danger and meaning.

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B. Creation and Making (Theopoiesis and Anthropopoiesis)

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In Archipelago, The Devil is Dead, and More Than Melchisedech, creation is not a one-time act carried out by a single divine figure. While God's presence is acknowledged [M:109, M:444, M:478; A:11], the focus shifts to a shared process in which other beings, such as magi and giants, take part [M:5]. This participatory creation is most clearly expressed in the character of Melchisedech Duffey, whose evolution from supporting figure to central cosmic player across the trilogy is a key narrative arc. In More Than Melchisedech, readers see him as Magus, Boy King, King of Salem, and the “Unique” [M:5, M:17, M:130, M:288].

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Duffey exists across repeated early lives and overlapping timelines [M:6]. He holds unusual powers: he can control unseen giants [M:5, M:15], alter thought and memory [M:5, M:16], and change the world around him through a golden touch [M:5, M:39]. One of his most notable actions involves using a specific object, a “talismanic device,” to form new people or leave his maker’s imprint on still-forming human beings [M:5]. These tools—physical items such as rods charged with lightning [M:11], or possibly linked to the Argo [M:178]—serve as instruments in this shaping work. They give out marked traits, gifts, blessings, or forms [M:18], and they help define both the nature and path of the ones shaped [M:120].

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Through these means, Duffey brings about the rise of his “creations,” a group he refers to as his “progeny” [M:121]. These are the so-called “Animated Marvels” [M:161, M:170], a set of people including Finnegan, Casey, Hans, Henri, Vincent, Teresa, and others [M:76, M:161, M:183]. The process is real, not as a figure of speech, and it joins the Marvels through a common point of origin and shared path. This path includes their place in the Argo group and the ability to recover lost knowledge or identity through Recollection [M:178]. Despite his status as Magus and his profound creative capabilities, Duffey's actions are sometimes depicted as flawed, subject to interruption, prone to miscalculation (as in the prizefight with Dandy Dan [M:51]), or leading to unforeseen and sometimes chaotic consequences [M:206, M:209]. This show the limitations even of the central creative figure within Lafferty's contested cosmology, where final control belongs to God.

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Still, Duffey does not fully grasp or manage this work. His efforts are sometimes interrupted or distorted [M:206, M:209], and other beings try to influence the outcome. One such case involves the Devil attempting to force him to create [M:303]. The system itself allows for wide variation and trouble. The world shown here has several layers, may shift in its foundations, and includes overlapping versions of events or beings. Examples include the existence of side-by-side worlds [M:186], paired or fractured identities [M:146], and individuals with more than one self [M:477 to 479].

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There is also mention of another human type, which senses and interprets things in a different way [D:47; A:49]. The sequence known as the “Great Day” even hints at a violent breaking apart of the world’s order [M:481 to 493].

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Casey Szymansky, one of Duffey’s talisman-shaped children [M:170], reveals much of this uncertainty. He holds several identities, including Peleus, Kasmir Gorshok [A:39], and Prince Casimir [M:535]. He places strong focus on the Problem of Evil [A:164], creates imagined worlds from within himself [A:156 to 161], and in one role, builds artificial human forms out of concern for lice [M:235]. Because of his deep link to dark forces, some, like Hilary Hilton, suspect that he may be a kind of Antichrist within a self-aware or partially real narrative cycle [M:378].

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In Lafferty’s view, making is carried out by many agents using real tools. The results are lasting and personal but remain open to change, disorder, and the push and pull of other forces.

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C. Primordial Beings & Forces (Devils)

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Lafferty's cosmology across Argo cycle presents the Devil not as a single entity but as a complex involving historical figures and the powers of mimicry and substitution, acting as central adversaries [D:6-7]. The Devil is Dead zeroes in on the mystery surrounding these figures as experienced by Finnegan. More Than Melchisedech significantly expands this, revealing the lineage and deeper implications.

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1. Papadiabolous I (Gregory McIfreann): Identified in the Dramatis Personae [M:53] and later confirmed by Mr. X's exposition [M:285]. Within the narrative of The Devil is Dead, his primary significance is as the figure Finnegan recalls helping Saxon Seaworthy bury in a Galveston graveyard on the night they first met [D:75-76, D:84]. Seaworthy's recurring dream of this event [D:72-74] and Finnegan's gradual recovery of this suppressed memory [D:71, 75-76] form a major plot thread. His grave, marked I.N.C.G.P. Bogovitch [D:277], becomes the site of the final confrontation setup. X later explains this name is a euphemism for Chortovitch ("Son of the Devil") [D:278] and details his 1830 birth, revolutionary past, and association with Seaworthy's group [M:286]. His historical imprisonment (946-1946) and release are pivotal events in More Than Melchisedech [M:185, M:204].

2. Papadiabolous II (Gregory McColum Noonan / "Papa Devil" / "Papa D"): The "Devil" figure encountered throughout the Brunhilde voyage in The Devil is Dead [D:15, 23, passim]. He is large, heavily built, with a purplish complexion, wears purple shirts, has a reddish fringe of hair [D:23], and employs a "red-eyed trick" [D:22]. His appearance terrifies Seaworthy [D:14-15] and Finnegan [D:15, 22]. Anastasia identifies him as Mr. Papadiabolous, Seaworthy's boss [D:23]. Throughout the voyage, he is figure of authority and menace, interacting with the crew, overseeing activities [D:22, 40, 54], and demonstrating uncanny knowledge (e.g., about Manuel the stowaway [D:54]). Finnegan suspects him of killing Doppio di Pinne [D:64] and realizes he is an imposter wearing a mask [D:62, 88], confronting him during the Atlantic crossing [D:87-89]. This figure, who never sleeps [D:51], is revealed by X in More Than Melchisedech to be the Irish cop Noonan [M:154, M:287] who was masquerading as the original P.I [M:288]. He is killed during the Naxos climax [D:146]. His ability to perfectly mimic P.I fools most associates for years [D:88, M:288].

3. The Primordial Devil (Father - Ifreann Gregorovitch): Mentioned in the Dramatis Personae [M:53] and detailed extensively in Mr. X's exposition at the novel's end in More Than Melchisedech [M:278-281]. Born near Krakow c. 1830 to Katie Noonan and "The Devil" [M:278-279], he is a "monster," involved with the Paris Commune, and father of the twins P.I and P.II [M:280-281]. X identifies him as his own grandfather and the great-grandfather of Finnegan and Anastasia [M:53, M:279]. His grave is the central location in the final chapters of The Devil is Dead [D:276ff]. He is the "Loosed Devil" whose covenant with Duffey forms the Sixth Contingency [M:301-303].

4. Related Figures and Concepts:

   • Casey Szymansky: His role intersects complexly with the Devil figures and the theme of evil. Archipelago confirms his Argonaut identity as Peleus [A:49] and his medieval aspect as Kasmir Gorshok [A:49]. Casey views the Problem of Evil as the world's only significant problem [A:164]. Driven by a profound, perhaps corrupted, compassion, he fixates on the concept of evil. His creation of elaborate dream worlds during youth signifies his deep engagement with alternate realities and darker impulses (Sadism, Revenge, etc.). His conflicts during WWII, particularly with Absalom Stein, foreshadow his later antagonistic relationship and ideological battles. This engagement leads figures like Hilary Hilton to interpret him as filling an Antichrist role within a "cycle of quasi-fiction" [M:531-532]. His mission seems to involve confronting or even sacrificing himself in relation to demonic forces [M:531], though the texts do not state he believes the Devil is redeemable. He trades an old soul (identified as Hugo Stone, likely Absalom Stein) with Absalom Stein, an event referenced in Duffey's warning letter during WWII [M:169, A:49-50]. The supplemental story "Promontory Goats" gives commentary on his motivations [M:538].

   • Absalom Stein: Acts as a key figure interacting with both Casey and Duffey, blurring lines between ally and antagonist. Archipelago establishes his presence during WWII as a Staff Sergeant with Special Service Press [A:19], where he delivers lectures, runs the Anopheles Network radio station [A:46-47], and becomes a target of Casey and the Dirty Five (the "Tania" incident [A:51-55]). Duffey's letter warns Casey about him as a "torpedo" using the name Hugo Stone [A:39-40], the same name associated with the soul Casey trades [M:169]. He joins the Pelican Press group in New Orleans [A:107], acting as publisher and intellectual foil to Duffey [A:120, A:135]. His later commentary in "Promontory Goats" analyzes Casey's soul-trading and motivations regarding the Devil [M:538]. His commentaries in MTM provide important context [M:185, M:188, M:291].

   • Mr. X: Is the key, though perhaps unreliable, narrator for much of the Devil lineage backstory in More Than Melchisedech. He claims the Primordial Devil was his grandfather [M:279] and that he personally dug up the body of Papadiabolous I after his death [M:150]. Archipelago confirms his physical presence interacting with the group during the post-war New Orleans era, visiting Duffey at the Pelican Press [A:135], leaving file cards [A:137], mentioning a wife in Milano [A:140], and later sending letters [A:141-142, A:265-266]. The detailed account distinguishing Papadiabolous I and II originates primarily from his narrative in More Than Melchisedech. His presence in The Devil is Dead is as a trickster figure aiding Finnegan's escape [D:173-178] and providing plot exposition [D:152-157, D:288-289].

   • Devil's Tetragrammaton: A design cut onto Sebastian Hilton's chest by the Slant-Faced Men [M:536], recurring figures of menace, hinting at deeper demonic influence or symbolism within the narrative's conflicts. (This detail is sourced from MTM).

 

These distinctions, particularly between the buried Papadiabolous I [D:75-76; M:288] and the mimicking Papadiabolous II on the Brunhilde [D:88, D:148], are important. The confusion between them, exploited by Papadiabolous II and certainly amplified by Mr. X's elaborate accounts, creates narrative tension and highlights the theme of deception versus reality. The Devil archetype thus manifests as a foundational Evil (the Father, detailed by X), a historical figure of power and revolution (Pap. I, detailed by X), and a deceptive, masked imitator encountered in The Devil is Dead (Pap. II). Archipelago sets the stage by introducing the core group known as the "Dirty Five" – Finnegan, Hans, Henri, Vincent, and Casey [A:38-39]. Finnegan's interactions with Papadiabolous II form one of the main conflicts in The Devil is Dead.

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D. The "Other People" / Teras / Variants

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A quasi-human category, speciated apart from standard Homo sapiens, appears throughout Lafferty's cosmology in the Argo cycle. Their origin remains unclear, even within the narrative. A fictional review by Royce Rollins in More Than Melchisedech links them to surviving Neanderthals or Grimaldi as “interior aliens” [M:240–241], but the embedded reviewer, Charles O.A. Harrington, questions this claim, suggesting the theory may itself be pathological [M:241, cf. M:240]. The ambiguity remains unresolved. Melchisedech Duffey lists “Gargoyles, Neanderthals, Boogers, Vagaries, and Variants” among those with “variant blood” [M:170].

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Characters within the Argo cycle acknowledge this difference. Anastasia’s grandmother identifies Finnegan as one of “the violent ones, those of the other blood” [D:128], and Archipelago notes that he has “other blood or the double blood” [A:39]. This suggests a hereditary difference, s “another human race that cuts across all races” [D:156]. The term Teras is applied to Finnegan by Askandan [A:248], and associated with Anastasia [M:139] and Giulio, Finnegan’s father [M:107]. The label Arracht also appears in Archipelago as a related classification [A:29].

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This group is marked by unusual traits and abilities. The speculative Rollins review mentions characteristics such as “poltergeistic manifestations, apparitions, doubles or fetches, second sight” [M:241]. Examples throughout the cycle include Finnegan’s clairvoyance, as when he senses Stein’s arrival [A:120–121], ghostly presences (notably in Ward Fourteen [A:85, 87]), and the motif of multiplicity, seen in Finnegan’s “upper and lower life” [D:11] and in doubles like Doppio di Pinne [D:64, A:111].

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They exist in a non-linear relation to time and reality, reflecting the cycle’s broader cosmology [M:475–479]. A spectral presence is frequently associated with them. Physical differences also appear. Patricia, Finnegan’s sister, moves in a way “not quite human,” a trait she shares with Finnegan [A:174]. He refers to his own face as a “comic mask” [A:56]. Hans encounters the Cliff People in New Guinea, who resemble Finnegan in form and movement [A:59], suggesting a shared type. A key moment comes when Sulem, a native carver, notes Finnegan lacks tujuan (life-direction or destiny) despite having semangat (soul-force), concluding he is not a “human man” [A:60].

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Many characters with these traits are also identified as Argonauts [A:38–39], crew members of a ship that operates outside normal time and space [M:178–179].

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Finnegan is the central figure in this group. Called a Teras by Askandan [A:248], he lacks tujuan but has semangat [A:60]. He accepts his strangeness, describing himself as a “changeling of no ancestry” [A:56], a “defective ghost” seeking a misplaced soul [A:56], and feeling like a stranger in his own body [A:92]. Patricia calls him a “changeling” and says they were “always strangers” [A:175]. The child Nauti refers to him using the term tao-bunduk, suggesting an ancient mountain being [A:64]. His duality, seen in the recurring figure of Doppio di Pinne [D:64, A:111, A:174], is developed further in The Devil Is Dead, especially during the Brunhilde voyage [D:90–91]. Finnegan eventually affirms, “I am a Teras” [A:258].

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Other figures strongly associated with this group include:

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• Giulio the Monster: Finnegan’s father. Called a Teras by Countess Margaret [M:107], referenced as Finnegan’s father in Archipelago [A:184, A:254], and named “The Monster Forgotten” [A:244].

• Eva (Ewaglouwshkoul): Calls herself the “Neanderthal Eve” [M:400], inking to the Neanderthal theory.

• Anastasia Demetriades: Descended from the “mermaid family of Naxos” [D:36], said to have “other blood” by her grandmother [D:128], called a “water-witch” [D:31], and closely connected to Finnegan on an otherworldly level [D:69]. She appears near the end of Archipelago [A:278].

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E. God

 

God acts both through direct, though subtle or mysterious, involvement and through indirect means, establishing the fundamental order against which the narrative's central conflicts unfold. Direct divine engagement, while rare, occurs at pivotal moments. A key instance is when God Himself comes onto the Argo to address the skeletal remains of Melchisedech Duffey, confirming his eternal priesthood ('Thou art a priest forever according to the order of Melchisedech' [M:109]) and his role as an Argo Master despite physical death [M:444]. Another example is God's establishment of the Pact which favored humanity over other creatures [M:478]. Characters also originate from or have contact with divine states, such as the Edenic allusions at start of Archipelago [A:11]. More frequently, divine influence operates indirectly. Providence is implied to guide events, and intermediaries like the Magi, most notably Melchisedech Duffey himself [M:5], act as agents, wielding creative or restorative powers. Duffey’s power to bestow talismans that confer "gifts or blessings or graces or formations" [M:18] suggests he acts as a conduit for a higher source. Special realms like Zabotski's "Pristine World" (operating on a faster, more essential time scale) [M:272, M:274] and the overarching concept of Eternity (a single, perfect instant outside of time) [M:468] can be understood as reflections of the divine state or origin, alongside the Terrestrial Paradise [M:234; A:1]. The narrative suggests a complex creation history, including legends of God fashioning and then abandoning earlier worlds ("the nine discarded worlds") before creating the current one [M:291]. Character perceptions of God vary; Absalom Stein describes God as "tricky," "remarkably good-natured," and "highly inventive" [M:478]. Though the central creative force, this presence often acts through secondary causes, allowing space for the operation of subordinate powers (Magi, Devils, Animated Marvels) and the creation of complex conflicts [M:Bk10, Postscript]. The struggle is thus framed as the preservation or rebuilding of this divinely originated world against forces, particularly the Devil [M:169, M:242], seeking its corruption or negation [M:Bk10, Postscript]. 

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​​​​​​​​​​​​F. Giants

 

Giants function within Lafferty's cosmology primarily as entities serving under the command of Melchisedech Duffey [M:5]. They represent a significant aspect of his power as a Magus, existing initially as invisible forces that can be commanded to act physically in the world or assist in creation [M:5; M:51]. Duffey estimated he had "about a dozen that I've used" and believed "there will always be as many as I need" [M:15]. Their primary role is to carry out Duffey's will, acting as extensions of his capacity to effect change and perform miraculous tasks. Specific examples include:

• Assisting Duffey in ringing a heavy church bell when he lacked the physical strength [M:15].
• Being capable, under Duffey's command, of bringing about the "Slaughter of the Kings" [M:5].
• Aiding in crafting items, such as props for magic tricks, referred to as "faber-giants" [M:51].
• Being prepared for summoning should Duffey need aid in a prizefight [M:45], although in another fight against Dandy Dan, the summoned giants proved ineffective [M:51].
• Moving a mule through the air, an event captured, albeit ambiguously, by photographers and witnessed by multiple people [M:131-132].
 

Their appearance varies. Sometimes they are entirely invisible [M:5]. But when performing tasks, parts of them, specifically their hands, can become visible. The "giant hand" that seized the bell rope was clearly seen by witnesses, although the giant itself remained invisible [M:15]. Similarly, the hands that lifted the mule were visible in some photographic evidence [M:132]. A different sort of entity, "four black giants of demiurgic appearance," appear in a visionary or projected context connected to Casey Szymansky, carrying his severed head [M:381], suggesting that the 'giant' concept may encompass different types or metaphorical figures beyond those commanded by Duffey. While powerful, the giants are not invincible. In Duffey's first prizefight, his opponent Dandy Dan was able to send the "invisible giants whimpering away like beaten puppies," indicating their power can be overcome or negated under certain circumstances [M:51]. Their nature blends immense physical force with an unseen or partially manifested presence, serving as key instruments of Duffey's magical influence on the world.

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G. The Argo & Argonauts (Primordial Aspects)

 

The Argo and its Argonauts represent a complex system operating across multiple realities and timelines. Central is the Ship Argo, a foundational vessel acting with apparent intention [M:402], known by names including Navicula Petri [A:44], Abd-Aliah's flagship [M:404], the Brunhilde [D:21], Land of Behest [M:404], Flying Serpent, Catherine, and Salle du Roi [M:405]. Archipelago adds the possible names Aral ('hindrance'), Bumi ('of the world'), and Aragh ('the direction') used for a canoe in Pulau that the Sergeant (Finnegan) identified as the Argo [A:89]. It has a unique horn sound [M:6] and varies physically, sometimes appearing as the immense Great Ship, other times as its pinnacle or boat [M:405], fitting small slips yet traversing cosmic scales [M:403]. The Argo navigates different realities like the Sea of the Seven Lost Years [M:470] (connected to the Sea of Amnesia by a hidden strait [M:406]) and facilitates travel through time [M:405, M:478]. Its interior includes locations like the 'Bread and Wine Room' [M:403], and it carries potent relics: a fragment of the Talking Oak in its wheel (referenced via the Speaking Oak of Dodona [A:254]), Noah’s molar, the recovered Holy Grail (Sancgreal), and the Lord’s Table from the Cenaculum [M:403]. Log entries require interpretation [M:411], and it serves as a questing vessel, a “Hope Ship” [M:405], and even a "show boat" [M:405]. It has endured periods under 'evil men' [M:405] but remains tied to divine missions [M:402]. 

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The Argonauts are the core crew. Primarily the Dirty Five—Iason (Finnegan), Peleus (Casey), Orpheus (Hans), Meleager (Vincent), and Euphemus (Henry) [A:39]—they embody recurring mythic archetypes, listed in Archipelago: Finnegan as Dionysus/Ulysses/Terras/Arracht, Hans as Apollo/Aquinas Redivivus/Dr. Faustus, Henry as Friar Tuck/Pantegruel/Giant of the Beanstalk, Vincent as Mercurius/Don Vincent de Ollos/Austin, Casey as Kasmir Gorshok [A:39]). They are a "mystic society" [A:38], "very close and unsunderable" [A:48], sometimes experiencing amnesia [A:49]. Their unique origins involve being of the 'other blood' [A:33], a different race that cuts across races [D:156], or 'Animated Marvels' [M:161, M:449]. Finnegan is specifically a changeling [A:39, D:18, A:185] and identifies as a Teras [A:248]. Key figures include Melchisedech Duffey, the pilot, Boy King [M:17], King of Salem [M:17, M:76], known for his golden touch [M:5], mind-invasion [M:5, M:16], talisman creation [M:18, M:119, M:165], multiple childhoods [M:6], and the 'Urchin' disguise [MTM, p. 18]. Biloxi Brannagan is the Australian seaman linked to St. Brandon [M:409, M:405], waiting decades for the Argo [M:204, M:453], and the inspiration for Marie Monaghan's "Uncle Biloxi Brannagan" anecdote [A:25]. The Argonauts share traits like longevity [A:87], access to parallel realities [M:470], and sometimes bear a unique mark below the left wrist [D:10]. Their purpose involves sacred quests (Golden Fleece [A:9], Grail/Lord’s Table [M:403]) and opposing cosmic adversaries like the Laughing Prince [M:437] and other destroyers [M:531]. Their motto appears in variations, including two found in Archipelago: Ubicumque fuerit corpus illic congregabuntur et aquilas [A:44] and Aquilae congregabunt dumque In nostram memoriam quotiescumque [A:91]. 

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Catholic themes, figures, and concepts are integral, providing a deep structure and moral framework. This extends beyond general spirituality to encompass specific elements: Thomistic philosophical distinctions (Time/Aeon/Eternity [M:469]), detailed hagiography (the lives and patronage of saints invoked by name, e.g., Augustine, Jerome, Peter, Paul, Francis de Sales, Jude, Casimir [A:45, M:119, A:281, M:235), specific liturgical references (the Gradual for marriage [A:113]), and a pervasive, often traditionalist (pre-Vatican II) theological sensibility, frequently employed, however, with Lafferty's irony [M:27, M:194]. The cycle tracks struggles with grace, sin, virtue, and free will through its Argonauts.

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H. Mythic Objects / Locations / Events

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Golden Fleece: Salvation. The object of the primary Argo quest, sought and successfully found by the Argonauts [A:9]. Recovered from Colchis, it represents a key objective tied to their mythic origins under Iason (Finnegan) [A:2, A:9]. While not perpetually renewable, combings from it yield powerful golden fabrics or materials [M:401, M:443], such as those used by Casey Gorshok to create gear for Melchisedech's bones [M:443]. The power of the Fleece is echoed in Melchisedech Duffey’s own golden touch [M:5]. The PAEAN in Archipelago says, "They sought the ancient Golden Fleece / And, what is better yet, they found it." [A:9].
 

Terrestrial Paradise: A specific location in the Antilles (Longitude 61°44'42" W, Lat 16°00'00" N) [D:6], identified with Basse-Terre [D:235]. It is distinct from Heavenly Paradise and contains residual dangers like snakes [M:233]. It served as a haven for Finnegan and his companions [M:236]. Le Marin explains its island nature via a scriptural riddle concerning the four rivers [M:234]. Finnegan also refers to St. Kitts as his "terrestrial paradise" in The Devil is Dead [D:274] and Archipelago [A:272], a place he desires to return to [A:282]. Columbus is credited with its historical discovery [D:234].

Devil's Grave: The burial site of Papadiabolous I, located in the narrative of The Devil is Dead. Its tombstone is marked I.N.C.G.P. Bogovitch [D:277], interpreted as a euphemism for Chortovitch (Son of the Devil) [D:278]. Finnegan knows its exact location [D:156]. X links the Devil's imprisonment (A.D. 946-1946) and release to historical epochs and the concept of nostalgia [M:185].

Holy Grail: The Sangreal. It was recovered by the Argonauts and resides aboard the Argo [M:403]. Its recovery is noted as one of the ship's key triumphs [M:403].

Lord's Table: Recovered from the Cenaculum in Jerusalem, it is preserved within the Argo, likely in the 'Bread and Wine Room' [M:403].

Sword & Scabbard of St. Sécaire: A uniquely perilous artifact deliberately lost multiple times by the Argo Masters [M:422]. It was welded shut, as drawing it would cause two-thirds of the world to fall into a deep sleep, likely fatal if not reversed quickly [M:423]. Its recovery by the Dimbeau brothers necessitated intervention by Duffey and Brannagan, who ultimately contrived to lose it again in the Nine Mile Depth [M:422-424].

Creation Myths: Archipelago gives readers the mythic origins for island groups: Aegean islands from a smashed Electrum cup, Malayan from a broken bronze bowl, and Papuan from a great sea turtle tearing a woven mat [A:35]. This establishes the Pentanesia concept – a cluster of five magic islands (like Naxos and its neighbors: Andros, Tinos, Paros, Amargos, Naxos) [A:35]. The term 'archipelago' itself originally signified the great sea, not the islands within it [A:35].

Black Papua / Well of the World: A specific locale in New Guinea visited by the Dirty Five during WWII, rife with dense, vertical jungle terrain (close creeks, bluffs, tangled roots, waterfalls, caves) and tribes (Papuans, Kiriwinans) [A:36-37]. Metaphorically, it is Papuan collective unconscious – the 'Well of the World' – a psychic space containing and sustaining other cultures within it [A:37]. The Papuans are as full of spooks, having nightly journeys to purgatory, being apathetic in daytime, and dependent on the Kiriwinans for building [A:37]. 

 

Seven Lost Years / Sea of Seven Lost Years: An interval outside linear time associated with Melchisedech Duffey, also called the Seven Golden Years [M:69]. This period, which Duffey felt was like being "hidden in a cloud or in a burning tree" [M:157], could apparently be revisited [M:470]. Talismans creating the Animated Marvels were given by Duffey during his "hidden years" [M:120]. The Argo itself navigates the corresponding Sea of the Seven Lost Years [M:406].

Problem of Evil: A central theme, called "the only problem in the world" by Casey [A:164]. Pythagoras cataloged its aspects (unlimited, odd, multitude, left, female, motion, curved, darkness, oblong) versus those of good (Limit, even, one, right, male, rest, straight, light, square) [A:154]. Pope described it as a "devouring one" [A:154], and Amos questioned its relation to divine will [A:154]. Augustine believed sin originated from "some being of a different kind" [A:154].

The Fall: The origin of the current world state, leaving a "sad legacy" of the struggle between good and evil [M:185]. Henry Salvatore attributes some of his "incomplete feelings" to this "fallen nature of man" [A:177].
 

Speaking Oak of Dodona: A fragment resides in the Argo's wheel [M:403]. Finnegan possesses a piece of it during his time in the railroad station, mistaking it for a race track ticket [A:244].

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I. Repeating Metaphysical Concepts

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Multiple Persons Within PERSON: Characters contain multiple selves, reflecting psychological depth and perhaps literal multiplicity. This aligns with concepts discussed via C.G. Jung (Ego, Self, Shadow, Anima, Animus) and Havelock Ellis (‘Law of Intellectual Constancy’) [M:477]. This manifests through doubles or fetches like Finnegan’s Doppio di Pinne [D:121, A:111, A:184], alternate life narratives such as Duffey's multiple childhoods [M:6], layered identities (Argonaut/Mythic/Human, detailed for the Dirty Five in Archipelago [A:39]), and the awareness of separate simultaneous lives, such as Finnegan and Theresa's alternate marriage [A:203]. Finnegan embodies this multiplicity, experiencing himself as a "stranger inside" [A:92], having an "upper and lower life" [D:11], or engaging in internal dialogue between selves [D:90]. When the Sergeant (Finnegan) loses his name in Ward 14, he feels he could identify with any of the Dirty Five, suggesting permeable boundaries [A:72, A:83]. This connects to the idea of an 'other human race' or 'double blood' [A:39] and 'dual manifestations' [A:203]. Lafferty's Afterword addresses this via the "overlapping of the human persons" [M:478-479].

Amnesia: Forgetfulness is a common state within the cycle, particularly afflicting the Argonauts [A:39], and often appears linked to the trauma of shifting between realities or lives, or encountering overwhelming power or information. Finnegan’s dramatic forgetting of his own name following his discharge from the army [A:71-74] and Saxon Seaworthy's convenient, possibly self-serving, forgetfulness after burying Papadiabolous I [D:77] are key narrative examples. The novels says that "an amnesia" seals off the Argonauts' memory of their "great deeds long ago" [A:49]. Reflecting this thematic importance, the Sea of Amnesia is an actual location accessible via the Argo, connected by a hidden strait to the Sea of the Seven Lost Years [M:406].

Ghostliness: The narrative world is permeated by ghostliness, blurring life and death. Characters like Duffey exist post-mortem [M:443]. Finnegan feels like a "defective ghost" who has misplaced his soul [A:56]. Interactions with ghosts or ghostly phenomena occur, as in Ward Fourteen, where Finnegan discusses ghosts with Private Gregory [A:85, A:87] and Ignatius Ti relates local beliefs about ghosts and the dead returning at midnight [A:86]. This quality is part of the nature of being of human after the fall, making the entire cycle as 'A GHOST STORY' [M:475] and suggesting people themselves are inherently ghostly ("All the people are ghostly") [M:477]. Ghosts might be shells inhabited by devils [A:84], or that possessed men are "shells inhabited by ghosts" [A:85]. Black Papua is as full of spooks and ghost stories [A:37].

Talismanic Creation: A core ability of the Magus Melchisedech Duffey is the creation or activation of persons ('Animated Marvels') through talismanic devices [M:5, M:18]. These talismans, representing "special gifts or blessings or graces or formations" [M:18], can be golden sticks [M:120] or possibly derive from Argo relics like its gold filigree [M:478]. Specific talismans were given for Casey [M:119] and Giulio Solli's son (Finnegan) [M:47]. This power, however, seemed lost to Duffey during his time in the 'Molasses World' [M:120]. The Animated Marvels (including the Dirty Five) are bound together by this shared origin [M:178].
 

Time Stasis / Non-Linearity / Moment: Time is fluid and non-linear. Characters and the Argo move between standard chronology, the Seven Lost Years (a realm with different temporal rules [M:71]), and the Pristine World (a faster, essential reality distinct from the 'Molasses World' [M:279]). Pasts can be revisited [M:470], futures accessed, and the past is not necessarily immutable [M:413]. The narrative distinguishes between Time (measure of material change), Aeon (measure of non-material duration), and Eternity (the perfect, abiding instant) [M:469]. The "moment" can be the  fundamental reality [M:248, M:478]. This temporal fluidity is exemplified by the Lotus Eaters bar where it is "always afternoon" with a painted clock and calendar [A:16, A:29], and debated in Vincent's theory of the Uncreated Creation (world created 10 minutes ago with false memories) [A:56-57] and Finnegan’s counter-argument that the world "hasn't happened yet" [A:57]. Finnegan's "year lived twice" further illustrates this malleability [A:236].