Year: 2015

Caspilly

Variations: Caspilli, Neemora (Persian)

Caspilly

The Caspilly is a “marvelously large, and strong” fish from the Indian Ocean, described by Ambroise Paré on the basis of two separate accounts by André Thevet.

Thevet placed it in the Arabian Gulf, saying that it is known to the Arabs as caspilly, and to the Persians as neemora. The caspilly is almost as wide as it is long, but no more than two feet long. It has no scales, and its skin is spiky and barbed like that of a shark. On its forehead is a lancet-like spine, a foot and a half in length, that it keeps tucked along its nape. When it is hungry, it goes for the first fish it sees, stabbing it in the belly with its horn until its prey bleeds to death. Its teeth are venomous and bites are deadly. Applying a dead caspilly to a bite, on the other hand, will cure it. The horn is of great medicinal value, and caspilly are shot with arrows from a safe distance to retrieve such a prize.

Thevet also reports a nameless fish from the Peruvian sea, with a swordlike horn three feet long. This fish is a specialized whale killer. Upon seeing a whale, the fish will hide underneath before stabbing it in the navel with its horn, leaving the whale to writhe in its death throes and capsize nearby ships. Once the whale is dead, it can be eaten at leisure.

Paré economically combines both accounts, giving the caspilly a four-foot-long horn and making it the terror of the Arabian sea. He adds that the Arabs of the region hunt caspillys with giant hooks baited with camel meat. Any caspilly who greedily takes the bait will tire itself out on the line, eventually slowing down enough to be shot with arrows, brought onto ship, and bludgeoned to death. Caspilly flesh is edible, and caspilly alicorn is just as potent against venom as that of the unicorn.

In all likelihood the Caspilly was born from accounts of swordfish and killer whales, contaminated by lionfish and porcupinefish. The venomous bite may have been derived from the famed toxicity of pufferfish. Aldrovandi cautiously included it with his Herinaceus marinus, the porcupinefish, as Herinaceus arabus, the Arab hedgehog.

References

Aldrovandi, U. (1642) Monstrorum historia cum Paralipomenis historiae omnium animalium. Bononiae.

Paré, A. (1582) Discours d’Ambroise Paré – De la Licorne. Gabriel Buon, Paris.

Paré, A. (1614) Les Oeuvres d’Ambroise Paré. Nicolas Buon, Paris.

Thevet, A. (1575) La Cosmographie Universelle. Guillaume Chaudiere, Paris.

For the purposes of this book, deities, ghosts, and humans have been excluded. This is often down to a judgement call – some creatures are equal parts ghost and fairy, for instance.

After the primary name, a list of variations will be given. These include spelling variations, regional names, and other creatures that may be considered the same. The main text will clarify.

The primary art will always be subjective to some extent, and the artist will fill in blanks as they see fit. For what is known about the creature’s appearance, refer to the text.

The main art will be accompanied by a distribution map and a scale comparison. These will aim to be as accurate as possible, but the fact remains that they are often only educated guesses. Again, the text will contain the essential information.

Finally, all entries will have a references section. Lack of references has always been something that annoyed me, and I hope to remedy this somewhat.

I am indebted to your-vector-maps.com for their world map. The model in the scale images is currently exploring space on the Pioneer probes.

In the face of a natural world of infinite wonder, humanity found it necessary to create beings of their own. These are the creatures of the imagination, invented to explain phenomena, provide cautionary tales, or simply amuse the listeners. Some are garbled accounts of animals too bizarre to comprehend, others are divine attendants, lurking mischief-makers, or even helpful servants.

Our desire for order is almost as strong. Everything has to be described, classified, labeled, and pigeon-holed; there had to be a reason for everything. Thus the medieval bestiary was born, providing both moral guidance and a catalogue of what was known and unknown.

Since then, our interest in catalogues of the bizarre and unusual has never truly waned. J. L. Borges, in writing his Book of Imaginary Beings, set the foundations for the modern bestiary, and others have followed suit.

We will never truly be able to catalogue every last folkloric and mythical entity. It is an exercise in futility, the interest of the scholar and the artist degenerating into obsessive collection of the smallest details. While acknowledging this fact, it still doesn’t hurt to try. This work, which will be updated gradually, is the culmination of a deep interest in the unnatural world combined with years of research. I hope you enjoy it as much as I did putting it together.