Collected Fiction Volume 2 (1926-1930): A Variorum Edition by H. P. Lovecraft
He acquired a habit of writing long documents of some sort, which he carefully sealed and filled with injunctions that I transmit them after his death to certain persons whom he named—for the most part lettered East Indians, but including a once celebrated French physician now generally thought dead, and about whom the most inconceivable things had been whispered. As it happened, I burned all these papers undelivered and unopened. His aspect and voice became utterly frightful, and his presence almost unbearable. One September day an unexpected glimpse of him induced an epileptic fit in a man who had come to repair his electric desk lamp; a fit for which he prescribed effectively whilst keeping himself well out of sight. That man, oddly enough, had been through the terrors of the Great War [38] without having incurred any fright so thorough.
Then, in the middle of October, the horror of horrors came with stupefying suddenness. One night about eleven the pump of the refrigerating machine broke down, so that within three hours the process of ammonia cooling became impossible. Dr. Muñoz summoned me by thumping on the floor, and I worked desperately to repair the injury while my host cursed in a tone whose lifeless, rattling hollowness surpassed description. My amateur efforts, however, proved of no use; and when I had brought in a mechanic from a neighbouring all-night garage we learned that nothing could be done till[39] morning, when a new piston would have to be obtained. The moribund hermit’s rage and fear, swelling to grotesque proportions, seemed likely to shatter what remained of his failing physique; and once a spasm caused him to clap his hands to his eyes and rush into the bathroom. He groped his way out with face tightly bandaged, and I never saw his eyes again.
The frigidity of the apartment was now sensibly diminishing, and at about 5 a.m.[40] the doctor retired to the bathroom, commanding me to keep him supplied with all the ice I could obtain at all-night drug stores and cafeterias. As I would return from my sometimes discouraging trips and lay my spoils before the closed bathroom door, I could hear a restless splashing within, and a thick voice croaking out the order for “More—more!” At length a warm day broke, and the shops opened one by one. I asked Esteban either to help with the ice-fetching whilst[41] I obtained the pump piston, or to order the piston while I continued with the ice; but[42] instructed by his mother, he absolutely refused.
Finally I hired a seedy-looking[43] loafer whom I encountered on the corner of Eighth Avenue to keep the patient supplied with ice from a little shop where I introduced him, and applied myself diligently to the task of finding a pump piston and engaging workmen competent to install[44] it. The task seemed interminable, and I raged almost as violently as the hermit when I saw the hours slipping by in a breathless, foodless round of vain telephoning, and a hectic quest from place to place, hither and thither by subway and surface car. About noon I encountered a suitable supply house far downtown, and at approximately 1:30 p.m.[45] arrived at my boarding-place with the necessary paraphernalia and two sturdy and intelligent mechanics. I had done all I could, and hoped I was in time.
Black terror, however, had preceded me. The house was in utter turmoil, and above the chatter of awed voices I heard a man praying in a deep basso. Fiendish things were in the air, and lodgers told over the beads of their rosaries as they caught the odour[46] from beneath the doctor’s closed door. The lounger I had hired, it seems, had fled screaming and mad-eyed not long after his second delivery of ice;[47] perhaps as a result of excessive curiosity. He could not, of course, have locked the door behind him; yet it was now fastened, presumably from the inside. There was no sound within save a nameless sort of slow, thick dripping.
Briefly consulting with Mrs. Herrero and the workmen despite a fear that gnawed my inmost soul, I advised the breaking down of the door; but the landlady found a way to turn the key from the outside with some wire device. We had previously opened the doors of all the other rooms on that hall, and flung all the windows to the very top. Now, noses protected by handkerchiefs, we tremblingly invaded the accursed south room which blazed with the warm sun of early afternoon.
A kind of dark, slimy trail led from the open bathroom door to the hall door, and thence to the desk, where a terrible little pool had accumulated. Something was scrawled there in pencil in an awful, blind hand on a piece of paper hideously smeared as though by the very claws that traced the hurried last words. Then the trail led to the couch and ended unutterably.
What was, or had been, on the couch I cannot and dare not say here. But this is what I shiveringly puzzled out on the stickily smeared paper before I drew a match and burned it to a crisp; what I puzzled out in terror as the landlady and two mechanics rushed frantically from that hellish place to babble their incoherent stories at the nearest police station. The nauseous words seemed well-nigh incredible in that yellow sunlight, with the clatter of cars and motor trucks ascending clamorously from crowded Fourteenth Street, yet I confess that I believed them then. Whether I believe them now I honestly do not know. There are things about which it is better not to speculate, and all that I can say is that I hate the smell of ammonia, and grow faint at a draught of unusually cool air.[48]
“The end,” ran that noisome scrawl, “is here. No more ice—the man looked and ran away. Warmer every minute, and the tissues can’t last. I fancy you know—what I said about the will and the nerves and the preserved body after the organs ceased to work. It was good theory, but couldn’t keep up indefinitely. There was a gradual deterioration I had not foreseen. Dr. Torres knew, but the shock killed him. He couldn’t stand what he had to do—[49]he had to get me in a strange, dark place[50] when he minded my letter and nursed me back. And the organs never would work again. It had to be done my way—artificial preservation—for you see I died that time eighteen years ago.”
Notes
Editor’s Note: The surviving T.Ms. was prepared by HPL. The first appearance (Tales of Magic and Mystery, March 1928) followed the T.Ms., but made some curious editorial alterations of phrases. The Arkham House editions follow the T.Ms. but also make some alterations. The posthumous Weird Tales appearance (September 1939) is not relevant to the tale’s textual history.
Texts: A = T.Ms. (JHL); B = Tales of Magic and Mystery 1, No. 4 (March 1928): 29–34; C = The Dunwich Horror and Others (Arkham House, 1963), 203–11. Copy-text: A.
1. draught] draft B
2. odour,] odor, B
3. circumstance] circumstances C
4. mid-afternoon,] midafternoon, C
5. clangour of a] clangor of B
6. ’forties,] forties, A, B, C
7. splendour] splendor B
8. regular,] regularly, B
9. till] ’til C
10. criticisms] criticism B
11. third-floor] third floor A, B, C
12. odour] odor B
13. But] But, B
14. a] om. B
15. Esteban] Estaban C
16. Gawd,] God, C
17. sal-ammoniac] salammoniac C
18. for] for to C
19. so] so, C
20. cut and fit.] fit and cut. C
21. this] his B
22. lifetime] life-time C
23. draught] draft B
24. half-jestingly] half jestingly C
25. 55 or 56] fifty-five or fifty-six C
26. mediaevalists,] medievalists, B
27. I . . . felt.] om. B
28. till] ’til C
29. time] time, C
30. 34° or 40°,] thirty-four or forty degrees, C
31. 28°;] twenty-eight degrees; C
32. door,] door; C
33. healing] healing, C
34. odour;] odor; B
35. worse—] worse, C
36. unaided.] unaided, C
37. death-daemon] death-demon B
38. Great War] great war C
39. till] until C
40. 5 a.m.] 5 A.M. B; five in the morning, C
41. whilst] while B, C
42. but] but, C
43. seedy-looking] seedy looking A, B
44. install] instill B
45. 1:30 p.m.] 1:30 P.M. B; one-thirty that afternoon C
46. odour] odor B
47. ice;] ice: C
48. and all . . . air.] and I sure hate the smell of ammonia. B
49. do—] do; C
50. place] place, C
The Call of Cthulhu
(Found Among the Papers of the Late
Francis Wayland Thurston, of Boston)[1]
“Of such great powers or beings there may be conceivably a survival . . . a survival of a hugely remote period when . . . consciousness was manifested, perhaps, in shapes and forms long since withdrawn before the tide of advancing humanity . . . forms of which poetry and legend alone have caught a flying memory and called them gods, monsters, mythical beings of all sorts and kinds. . . .”[2]
—Algernon Blackwood.[3]
I.
The Horror in Clay.
The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.
Theosophists have guessed at the awesome grandeur of the cosmic cycle wherein our world and human race form transient incidents. They have hinted at strange survivals in terms which would freeze the blood if not masked by a bland optimism. But it is not from them that there came the single glimpse of forbidden aeons[4] which chills me when I think of it and maddens me when I dream of it. That glimpse, like all dread glimpses of truth, flashed out from an accidental piecing together of separated things—in this case an old newspaper item and the notes of a dead professor. I hope that no one else will accomplish this piecing out; certainly, if I live, I shall never knowingly supply a link in so hideous a chain. I think that the professor, too, intended to keep silent regarding the part he knew, and that he would have destroyed his notes had not sudden death seized him.
My knowledge of the thing began in the winter of 1926–27 with the death of my grand-uncle[5] George Gammell Angell, Professor Emeritus of Semitic Languages[6] in Brown University, Providence, Rhode Island. Professor Angell was widely known as an authority on ancient inscriptions, and had frequently been resorted to by the heads of prominent museums; so that his passing at the age of ninety-two may be recalled by many. Locally, interest was intensified by the obscurity of the cause of death. The professor had been stricken whilst returning from the Newport boat; falling suddenly, as witnesses said, after having been jostled by a nautical-looking negro who had come from one of the queer dark courts on the precipitous hillside which formed a short cut from the waterfront to the deceased’s home in Williams Street. Physicians were unable to find any visible disorder, but concluded after perplexed debate that some obscure lesion of the heart, induced by the brisk ascent of so steep a hill by so elderly a man, was responsible for the end. At the time I saw no reason to dissent from this dictum, but latterly I am inclined to wonder—and more than wonder.
As my grand-uncle’s[7] heir and executor, for he died a childless widower, I was expected to go over his papers with some thoroughness; and for that purpose moved his entire set of files and boxes to my quarters in Boston. Much of the material which I correlated will be later published by the American Archaeological[8] Society, but there was one box which I found exceedingly puzzling, and which I felt much averse from shewing [9] to other eyes. It had been locked, and I did not find the key till it occurred to me to examine the personal ring which the professor carried always in his pocket. Then indeed[10] I succeeded in opening it, but when I did so seemed only to be confronted by a greater and more closely locked barrier. For what could be the meaning of the queer clay bas-relief and the disjointed jottings, ramblings, and cuttings which I found? Had my uncle, in his latter years, become credulous of the most superficial impostures? I resolved to search out the eccentric sculptor responsible for this apparent disturbance of an old man’s peace of mind.
The bas-relief was a rough rectangle less than an inch thick and about five by six inches in area; obviously of modern origin. Its designs, however, were far from modern in atmosphere and suggestion; for [11] although the vagaries of cubism and futurism are many and wild, they do not often reproduce that cryptic regularity which lurks in prehistoric writing. And writing of some kind the bulk of these designs seemed certainly to be; though my memory, despite much familiarity with the papers and collections of my uncle, failed in any way to identify this particular species, or even to[12] hint at its remotest affiliations.
Above these apparent hieroglyphics was a figure of evidently pictorial intent, though its impressionistic execution forbade a very clear idea of its nature. It seemed to be a sort of monster, or symbol representing a monster, of a form which only a diseased fancy could conceive. If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing. A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. Behind the figure was a vague suggestion of a Cyclopean architectural background.
The writing accompanying this oddity was, aside from a stack of press cuttings, in Professor Angell’s most recent hand; and made no pretence[13] to literary style. What seemed to be the main document was headed “CTHULHU CULT”[14] in characters painstakingly printed to avoid the erroneous reading of a word so unheard-of. The manuscript was divided into two sections, the first of which was headed “1925—Dream and Dream Work of H. A. Wilcox, 7 Thomas St., Providence, R.I.”,[15] and the second, “Narrative of Inspector John R. Legrasse, 121 Bienville St., New Orleans, La.,[16] at 1908 A. A. S. Mtg.—Notes on Same, & Prof. Webb’s Acct.” The other manuscript papers were all brief notes, some of them accounts of the queer dreams of different persons, some of them citations from theosophical books and magazines (notably W. Scott-Elliot’s[17] “Atlantis and the Lost Lemuria”[18] ),[19] and the rest comments on long-surviving secret societies and hidden cults, with references to passages in such mythological and anthropological source-books as Frazer’s “Golden Bough”[20] and Miss Murray’s “Witch-Cult in Western Europe”.[21] The cuttings largely alluded to outré mental illnesses[22] and outbreaks of group folly or mania in the spring of 1925.
The first half of the principal manuscript told a very peculiar tale. It appears that on March 1st, 1925, a thin, dark young man of neurotic and excited aspect had called upon Professor Angell bearing the singular clay bas-relief, which was then exceedingly damp and fresh. His card bore the name of Henry Anthony Wilcox, and my uncle had recognised[23] him as the youngest son of an excellent family slightly known to him, who had latterly been studying sculpture at the Rhode Island School of Design and living alone at the Fleur-de-Lys Building near that institution. Wilcox was a precocious youth of known genius but great eccentricity, and had from childhood excited attention through the strange stories and odd dreams he was in the habit of relating. He called himself “psychically hypersensitive”,[24] but the staid folk of the ancient commercial city dismissed him as merely “queer”.[25] Never mingling much with his kind, he had dropped gradually from social visibility, and was now known only to a small group of aesthetes[26] from other towns. Even the Providence Art Club, anxious to preserve its conservatism, had found him quite hopeless.
On the occasion of the visit, ran the professor’s manuscript, the sculptor abruptly asked for the benefit of his host’s archaeological[27] knowledge in identifying the hieroglyphics on the bas-relief. He spoke in a dreamy, stilted manner which suggested pose and alienated sympathy; and my unc
It was then that he began that rambling tale which suddenly played upon a sleeping memory and won the fevered interest of my uncle. There had been a slight earthquake tremor the night before, the most considerable felt in New England for some years; and Wilcox’s imagination had been keenly affected. Upon retiring, he had had an unprecedented dream of great Cyclopean cities of titan[30] blocks and sky-flung monoliths, all dripping with green ooze and sinister with latent horror. Hieroglyphics had covered the walls and pillars, and from some undetermined point below had come a voice that was not a voice; a chaotic sensation which only fancy could transmute into sound, but which he attempted to render by the almost unpronounceable jumble of letters, “Cthulhu fhtagn”.[31]
This verbal jumble was the key to the recollection which excited and disturbed Professor Angell. He questioned the sculptor with scientific minuteness; and studied with almost frantic intensity the bas-relief on which the youth had found himself working, chilled and clad only in his night-clothes,[32] when waking had stolen bewilderingly over him. My uncle blamed his old age, Wilcox afterward said, for his slowness in recognising[33] both hieroglyphics and pictorial design. Many of his questions seemed highly out-of-place[34] to his visitor, especially those which tried to connect the latter with strange cults or societies; and Wilcox could not understand the repeated promises of silence which he was offered in exchange for an admission of membership in some widespread mystical or paganly religious body. When Professor Angell became convinced that the sculptor was indeed ignorant of any cult or system of cryptic lore, he besieged his visitor with demands for future reports of dreams. This bore regular fruit, for after the first interview the manuscript records daily calls of the young man, during which he related startling fragments of nocturnal imagery whose burden was always some terrible Cyclopean vista of dark and dripping stone, with a subterrene voice or intelligence shouting monotonously in enigmatical sense-impacts uninscribable save as gibberish. The two sounds most frequently repeated are those rendered by the letters “Cthulhu” and “R’lyeh”.[35]