The Dark Goddess — Background and Themes
Edition facts
For The Dark Goddess — Background and Themes, the stored edition analysis reports 8,230 words, 36 min estimated reading time, and 1 detected text section.
The text analysis averages about 20.5 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
There were carvings, deep cut reliefs of utter beauty, twining vine leaves, little figures half-human peeping from the leaves, lovely female bodies as the flowers, incredibly lovely female heads in clusters as the fruit.
"I've come to the Halls of Bacchus himself! Sure, I must be dead already. No wonder I can't manage to die! But if that ain't the vine itself, I've never been drunk!" Pete was half delirious, half in the darkness of utter despair. But his Irish heart whispered to him, "Where there's the vine there's wine," and he tottered off weakly into the dark in search of it.
Somewhere afar off he heard a faint mysterious laugh, strangely feminine, strangely friendly. He stopped, for ahead of him was approaching a strange faint light. Closer it came, stalking toward him fearfully, and to anyone else it would have seemed like an animated clothing store dummy without the clothes. But the figure was feminine, and it bore on its shoulder a tall oval vase-like vessel.
Pete straightened, and awe swept over him. In a low voice he heard himself quoting--
"_Came toward me through the dusk an angel-shape, Bearing on her shoulder a vessel ... And bid me taste of it. 'Twas the grape!_"
McCarthy's tongue twisted strangely in his mouth with a desirous life of its own. The glowing angel-shape bent, and held the vessel to his lips, and he drank long and deep. He wiped his mouth on the back of his hand, and looked into the angel's glowing eyes.
As he looked the shape changed, subtly, adapting itself to his approval like a dream might, and McCarthy whispered in an awed voice:
"Sure, lady, it is the grape right enough! Now tell me, are you the same angel who gave drink to Omar? Or was she your sister, maybe?"
The glowing shape, growing second by second more sweetly curved to his eye, unsmilingly replaced the vessel on her shoulder. Her voice was a distant melody though her face was right before his eyes:
"I am but a messenger, dear welcome stranger. I bid you consider these ancient halls your home. When you are well and strong, there will be many things to talk of, for I have been long alone. Mine eyes are glad with the sight of you."
McCarthy touched the naked angel's shoulder, and was surprised to find it hard as steel. The glowing being did not seem surprised, and her arm went about his shoulders, supporting him easily. After a minute of this slow progress, she bent and picked McCarthy up in her arms as if he were a babe. McCarthy murmured, "Sure angel, be this Heaven or Hell I'm damned glad to get here."
The voyager lay unconscious for many days. While he slept, dozens of the weird "angels" hovered over him and what they poured down his throat and what they injected into his veins he never knew. But when at last he awakened he felt like the man he had been twenty years before, young in heart and with a boundless happiness of well-being surging up in him like a great spring of Omar's wine.
So waking, he sprang to his feet as he had used to do in the morning, unable to wait to learn what new and curious thing the day would bear for him. He looked about him with eyes that could not believe, and he was a long time remembering how he had got here or where he was. And when he did, it was to wonder why he had been so sunk in despair and so ready to accept death.
One of the tall glowing shapes came and bowed low before him, and McCarthy saw for an instant she was not a living woman at all, nor any angel either!
"Why you're a robot kind of thing!" cried Pete, recoiling in sudden distrust, for there was something revolting to him about a metal machine masquerading as a human form.
The glowing woman-shape straightened proudly, and her long fiery eyes narrowed a little, and her voice like distant tinkling magic murmured softly, "Are you so very sure I am not alive, man from afar?"
McCarthy kept looking at her, and she changed before his very eyes, and at last his wits awoke, so that he said gallantly, "Sure and you're as beautiful a woman as ever I saw in my life! I'm owing you my life, and I'd be the last would want to hurt your feelings. Nobody could be sorrier for the mistake than I am."
The story opens with a striking image: a vast, beautiful mer-woman rising from black-emerald water, her hair described as having "a rippling life of its own." This creature is not merely a fantasy figure but a ruler addressing her human subjects in a cavern city built into an ancient bedrock. The narrative quickly establishes a tone of melancholy and expectation, as the mer-woman conveys disappointment in her people, who weep in response. The setting—a planet drifting through space, threatened by approaching suns—grounds the fantastical elements in a science-fictional premise.
A Lonely Ruler and Her Illusory World
The mer-woman, referred to as "sea-mother" and "sorceress," is portrayed as ancient and immensely powerful, yet profoundly lonely. She creates an elaborate illusion for the human astronaut Peter McCarthy, populating his chambers with "glowing heavenly shapes" that attend to his every need. For nearly a year, McCarthy lives in a dreamlike state, believing himself a god. The text emphasizes his sensory experience: the "unearthly and utterly exquisite beauty" of his dreams. When the illusions vanish, he is left in utter darkness, his hand flash depleted, and he runs blindly through the caverns in despair. This sequence highlights the mer-woman's control over perception and McCarthy's vulnerability.
The Revelation of Truth
McCarthy's encounter with the mer-woman in her throne room is the story's pivotal scene. She is described as "mighty as a Titan," her throne as tall as an office building. Despite her scale, her voice is "like the surf breaking on ringing rocks far off." She admits to McCarthy that she has been playing with him because she is lonely, and that he is the first of his race she has met. The dialogue reveals her weariness: "Not too much fun, McCarthy. But interesting." McCarthy, in turn, acknowledges his own entrapment: "my heart is snared here, like an ape in a cage." The scene balances intimacy and alienation, as two isolated beings confront each other across a vast power imbalance.
Science Fiction Underpinnings
While the story is cataloged under "Love stories" and "Human-alien encounters," its science-fictional elements are prominent. The mer-woman explains that her planet is on a collision course with one of two suns, a contingency "long foreseen." The cavern city is described as a "home of ours, built to house our genius, to provide everlasting protection against the unstable elements." The human subjects are an "amalgam of many human races of divergent strains from several near-forgotten planets." These details suggest a backstory of interstellar migration and technological achievement, though the excerpts do not reveal the planet's origin or the mer-woman's own race. The story thus uses a fantasy-like alien to explore themes of cosmic displacement.
Narrative Structure and Voice
The excerpts show a third-person narration that shifts between the mer-woman's regal perspective and McCarthy's bewildered, sensory-rich experience. The prose is ornate, with long sentences and vivid imagery: "the great lonely eyes and wide scarlet mouth were far more lovely than any human's." Dialogue is used sparingly but effectively, as when the mer-woman's voice is described as "a great bell of meaning." The story's pacing alternates between static, descriptive passages (the mer-woman addressing her people) and frantic action (McCarthy's blind run). This rhythm reinforces the contrast between the timelessness of the mer-woman's existence and McCarthy's human urgency.
Readers should note that the excerpts cover only the story's opening and a later confrontation, leaving the resolution unknown. The catalog subjects suggest a romantic element, but the available text emphasizes power dynamics and deception over mutual affection. Pay attention to how Shaver uses scale—the mer-woman's immense size, the cavern's vastness—to underscore the characters' emotional distances. The story rewards attention to its sensory details and the tension between illusion and reality.
That rainy afternoon, the mer-woman’s lonely illusions lingered—her caverns felt more honest than my own quiet walls. It made me think of another kind of solitude, the one in Feet of Clay — Context and Discussion, where truth hides beneath what people choose to see. I closed the first book, opened the second, and the rain kept falling.
There are no reviews for this eBook.
Record your reading impressions
A brief reflection can help important ideas stay with you longer.