Tuesday, April 1, 2014

The Elder Sign

What is The Elder Sign?

The Elder Sign is a fictional occult device used by H.P. Lovecraft as well as authors influenced by Lovecraft. The Elder sign is usually thought of as a graphical symbol or glyph which has occult properties. The Sign offers a type of protection from the Deep Ones. Some sources say it is some type of pentagram figure, but as you will soon see, that idea is not to be found in Lovecraft's writings. Nor is there to be found the idea of one distinct sign.

In this blog post I will look at what H.P. Lovecraft wrote about the Elder Sign. I also give a history of a type of cipher tracked from the Elder times to the present day.

Where Does Lovecraft Mention the Elder Sign?

Lovecraft mentioned the Elder Sign in his short stories and also in private correspondence. I have collected here the few references I could find.

The Descendant (1926? or 1927?)

"The Descendant" is an odd story fragment set in England. Here is the passage that refers to the Elder Sign:
"There must, Lord Northam whispered, have been something wrong at the start; but it would never have come to a head if he had not explored too far. He was the nineteenth Baron of a line whose beginnings went uncomfortably far back into the past - unbelievably far, if vague tradition could be heeded, for there were family tales of a descent from pre-Saxon times, when a certain Lunaeus Gabinius Capito, military tribune in the Third Augustan Legion then stationed at Lindum in Roman Britain, had been summarily expelled from his command for participation in certain rites unconnected with any known religion. Gabinius had, the rumour ran, come upon a cliffside cavern where strange folk met together and made the Elder Sign in the dark; strange folk whom the Britons knew not save in fear, and who were the last to survive from a great land in the west that had sunk, leaving only the islands with the roths and circles and shrines of which Stonehenge was the greatest. There was no certainty, of course, in the legend that Gabinius had built an impregnable fortress over the forbidden cave and founded a line which Pict and Saxon, Dane and Norman were powerless to obliterate; or in the tacit assumption that from this line sprang the bold companion and lieutenant of the Black Prince whom Edward Third created Baron of Northam. These things were not certain, yet they were often told; and in truth the stonework of Northam Keep did look alarmingly like the masonry of Hadrian's Wall. As a child Lord Northam had had peculiar dreams when sleeping in the older parts of the castle, and had acquired a constant habit of looking back through his memory for half-amorphous scenes and patterns and impressions which formed no part of his waking experience. He became a dreamer who found life tame and unsatisfying; a searcher for strange realms and relationships once familiar, yet lying nowhere in the visible regions of earth."

As a side note: Lovecraft writes of "strange folk whom the Britons knew not save in fear, and who were the last to survive from a great land in the west that had sunk, leaving only the islands with the roths and circles and shrines of which Stonehenge was the greatest". What do you think of that? Nonsense, right? But entertain a simple man... Have the sea levels always been the same as they are now? Is it possible that there are underwater cities? Is it possible that small islands off the coast of a larger island were once part of the larger land? I pose these questions because I will seem more rational if you answer them yourself. At one time England and France were connected by what is now called "Doggerland". You could, indeed walk from Germany or the Netherlands straight to England. You could even walk that route without going through France. And on the West side of the big island? How old are those circles? Have the coasts and numbers of islands shifted many times since man came to those parts? Could it be that the further you go back in time around that island, the more underwater cities you will find? No, this is all fiction and fairy tails. What if I told you one of the more recent sunken cities to be explored was called Dunwich? Do you hear the bells?

The three main characters in "The Descendant" are Williams, Lord Northam, and Lunaeus Gabinius Capito.

Williams is a 23 year old man who moves into an old house with an old man (Lord Northam) and the old man's cat. Williams tries to get his prematurely aged roommate to talk about anything "profound and strange" (read "occult"). Williams eventually buys a copy of the Necronomicon from a "gnarled old Levite", brings it home and pushes Lord Northam's mind into the abyss.

Lord Northam is a mentally unstable, prematurely aged man living with his cat in an old house. Lord Northam takes in a young man as a roommate. As the wikipedia entry for "The Descendant" points out, Lord Northam shares characteristics of a couple of Lovecraft's favorite authors, Arthur Machen and Lord Dunsany. The wikipedia entry for the story states, "Northam's sampling of various worldviews is similar to Randolph Carter's quest for meaning in Lovecraft's "The Silver Key".[1] Northam's description as "a dreamer who found life tame and unsatisfying" also links him to Carter." Although that might be true, I believe Lovecraft was thinking of Arthur Machen and Lord Dunsany when he wrote about Lord Northam.

(Okay, I think this part of the Wikipedia entry is bullshit. Lord Northam is a mixture of Lord Dunsany and Arthur Machen. It is not Lovecraft himself. Carry on...)

Arthur Machen was an occultist and member of the Hermetic Order of the Golden Dawn. Like Lovecraft, the influential occultist Aleister Crowley enjoyed the works of Arthur Machen and made them required reading for his magical students. According to Kenneth Grant, Crowley also saw occult truths in the works of Lovecraft.

The Necronomicon of "The Descendant" is a debased medieval black letter edition. By the description I assume it is the work of Olaus Wormius (see "The History of the Necronomicon"). Wormius was an exceptionally learned and intelligent man who wrote about, among other things, runes. Computus Runicus is an example of Wormius' runic writing. Wormius' biographer, Jón Ólafsson of Grunnavík wrote down some of what Wormius learned of cipher runes in "Runologia". That information made it into "Run-Lara" of  Johan Gustaf Liljegren. Run-Lara is not the Necronomicon, but it is an example of a black letter book containing the words of Wormius (and also a great explanation on how the Elder Signs were formed).

(The information in this picture will show up again later in this post, so take a good look.)

The Elder Sign of "The Descendant" is something people can make in the dark. It is probably some type of gesture.

And now, let's look at the last paragraph of the story:
" Filled with a feeling that our tangible world is only an atom in a fabric vast and ominous, and that unknown demesnes press on and permeate the sphere of the known at every point, Northam in youth and young manhood drained in turn the founts of formal religion and occult mystery. Nowhere, however, could he find ease and content; and as he grew older the staleness and limitations of life became more and more maddening to him. During the ’nineties he dabbled in Satanism, and at all times he devoured avidly any doctrine or theory which seemed to promise escape from the close vistas of science and the dully unvarying laws of Nature. Books like Ignatius Donnelly’s chimerical account of Atlantis he absorbed with zest, and a dozen obscure precursors of Charles Fort enthralled him with their vagaries. He would travel leagues to follow up a furtive village tale of abnormal wonder, and once went into the desert of Araby to seek a Nameless City of faint report, which no man has ever beheld. There rose within him the tantalising faith that somewhere an easy gate existed, which if one found would admit him freely to those outer deeps whose echoes rattled so dimly at the back of his memory. It might be in the visible world, yet it might be only in his mind and soul. Perhaps he held within his own half-explored brain that cryptic link which would awaken him to elder and future lives in forgotten dimensions; which would bind him to the stars, and to the infinities and eternities beyond them."

Like the Randolph Carter of Lovecraft's other stories, Williams is a type of Lovecraft. A darker, more Satanic Lovecraft. The language is similar to the Randolph Carter stories and the "easy Gate" hints at a key. But that's an entirely different blog post.

The Dream Quest of Unknown Kadath (1926, Autumn? to 1927, January 22)

"At another house, where people were stirring, he asked questions about the gods, and whether they danced often upon Lerion; but the farmer and his wife would only make the Elder Sign and tell him the way to Nir and Ulthar."
The Dream Quest of Unknown Kadath is much too big to summarize in this post. It is a Randolph Carter (R+C) story.

Here again, THE Elder Sign seems to be a gesture.

The Last Test (1927 with Adolphe de Castro)

"Then, with face convulsed, he called down imprecations from the stars and the gulfs beyond the stars; so that even Surama shuddered, made an elder sign that no book of history records, and forgot to chuckle. "

The Elder Sign made by Surama is also a gesture. This Elder Sign is not THE Elder Sign, it is AN Elder Sign. There are probably many, many signs from Elder times that are not recorded in history books.

A Letter to Clark Ashton Smith (November 7, 1930)

In a letter to Clark Ashton Smith (A.K.A. the Sorcerer Klarkash-Ton), Lovecraft writes:
"Again thanking you in Tsathoggua’s name for the recent shipment, & hoping to see more items from your pen ere long, I append the Elder Sign & the Seal of N’gah, given in the Dark Cycle of Y’hu"
The Elder Sign Lovecraft mentions, as it appears written in Lovecraft's own hand looks like this:
This is the first "Elder Sign" mentioned by Lovecraft that is definitely graphical in nature. Is this the one and only Elder Sign? Or just the Elder Sign for N'gah given in the Dark Cycle of Y'hu?

For those not following my logic, think on the Seal of N'gah. If N'gah was given a seal in the Dark Cycle of Y'hu, does that mean he was not given a different sign in a different cycle? Is N'gah the only being given a seal in that specific age? Or other ages? If we assume there are multiple beings given individual seals in different times, why would we think there is just one Elder sign?

Can this sign be seen in Arab magic, the Black Letter edition of the Necronomicon, and on Elder stones?

The Shadow Over Innsmouth (1931, November? to December 3)

"In some places they was little stones strewed abaout—like charms—with somethin’ on ’em like what ye call a swastika naowadays. Prob’ly them was the Old Ones’ signs."

This is an interesting description of little stones with Old Ones' signs. Lovecraft seemed to use the term "Old Ones" to refer to Elder Gods as well as the Elder Things (At the Mountains of Madness). Here we have a sign compared to a swastika. If you look closely at the last word of the quote, though, you will see it is plural. The stones that were strewn about were marked with Elder SIGNS. This implies more than one Elder Sign and that the signs are graphical in nature and carved on the stones. Are these Elder Signs like the one Lovecraft scribbled in his letter to the Sorcerer Klarkash-Ton? If there were more than one Elder Sign like the one Lovecraft appended to his letter, what would they look like? How could they be made to look like swastikas?

Through The Gates of The Silver Key (October to 1933, April with E. Hoffmann Price)

""And while there are those," the mad Arab had written, "who have dared to seek glimpses beyond the Veil, and to accept HIM as guide, they would have been more prudent had they avoided commerce with HIM; for it is written in the Book of Thoth how terrific is the price of a single glimpse. Nor may those who pass ever return, for in the vastnesses transcending our world are shapes of darkness that seize and bind. The Affair that shambleth about in the night, the evil that defieth the Elder Sign, the Herd that stand watch at the secret portal each tomb is known to have and that thrive on that which groweth out of the tenants thereof: - all these Blacknesses are lesser than HE WHO guardeth the Gateway: HE WHO will guide the rash one beyond all the worlds into the Abyss of unnamable devourers. For He is 'UMR AT-TAWIL, the Most Ancient One, which the scribe rendereth as THE PROLONGED OF LIFE." "

This is a Randolph Carter story, again involving keys (and gates), Irem, and the Necronomicon. Here we have what may be THE Elder Sign. But what is the Elder Sign of "Through The Gates of The Silver Key"? Is it a gesture? A little stone? A marking?

Reading on, we find the passage where Randolph Carter accepts 'Umr At-Tawil as his Guide:
" “I am indeed that Most Ancient One,” said the Guide, “of whom you know. We have awaited you—the Ancient Ones and I. You are welcome, even though long delayed. You have the Key, and have unlocked the First Gate. Now the Ultimate Gate is ready for your trial. If you fear, you need not advance. You may still go back unharmed the way you came. But if you choose to advance . . .”
      The pause was ominous, but the radiations continued to be friendly. Carter hesitated not a moment, for a burning curiosity drove him on.
      “I will advance,” he radiated back, “and I accept you as my Guide.”
      At this reply the Guide seemed to make a sign by certain motions of his robe which may or may not have involved the lifting of an arm or some homologous member. A second sign followed, and from his well-learnt lore Carter knew that he was at last very close to the Ultimate Gate. The light now changed to another inexplicable colour, and the Shapes on the quasi-hexagonal pedestals became more clearly defined. As they sat more erect, their outlines became more like those of men, though Carter knew that they could not be men. Upon their cloaked heads there now seemed to rest tall, uncertainly coloured mitres, strangely suggestive of those on certain nameless figures chiselled by a forgotten sculptor along the living cliffs of a high, forbidden mountain in Tartary; while grasped in certain folds of their swathings were long sceptres whose carven heads bodied forth a grotesque and archaic mystery.

Maybe one of the gestures made by The Most Ancient One is the Elder Sign. Maybe both gestures are Elder Signs and one of these Elder Signs closes the First Gate while the second Elder Sign opens the Ultimate Gate? I do not know. That conclusion would be consistent with the other "Signs" which are also gestures. It would also fit nicely into the gestures of Lovecraft's previous story "The Silver Key." Does Randolf Carter have the key and pass the "Easy Gate" looked for by Williams in "The Descendant"?

The Messenger (Weird Tales, 32, No. 1 (July 1938), 52)

To Bertrand K. Hart, Esq.

The thing, he said, would come that night at three
From the old churchyard on the hill below;
But crouching by an oak fire’s wholesome glow,
I tried to tell myself it could not be.
Surely, I mused, it was a pleasantry
Devised by one who did not truly know
The Elder Sign, bequeathed from long ago,
That sets the fumbling forms of darkness free.

He had not meant it—no—but still I lit
Another lamp as starry Leo climbed
Out of the Seekonk, and a steeple chimed
Three—and the firelight faded, bit by bit.
Then at the door that cautious rattling came—
And the mad truth devoured me like a flame! 

In this short poem, Lovecraft again makes mention of The Elder Sing. Once again, we have a sign that may be one of many signs passed down from Elder Times. Maybe "The Elder Sign, bequeathed from long ago, That sets the fumbling forms of darkness free." has a complimentary "Elder Sign, bequeathed from long ago, That seals away the fumbling forms of darkness." Who knows?

There is no hint to identify this Elder Sign as a gesture, a graphical design or sigil, or some other device.

Elder Signs, Magick and Alchemy

Having exhausted everything I could find that Lovecraft wrote about the Elder Sign or Elder Signs (and Old Ones' signs), I have come to the conclusion that Lovecraft wrote of three different types of "Elder Signs". The first is a type of gesture of the hand or of the entire body with magical potency from Elder Times. The second is a set of symbols similar to what Lovecraft gave in his letter to Clark Ashton Smith. The third is "like what ye call a swastika naowadays" and related to the second type of sign.

Examples of the first type of sign can be found in many books of occult magic and even popular rock album art.

The are the signs Aleister Crowley gave for the grades of the occult order A.'.A.'.
Read more HERE:

Here are the Beatles making Elder Signs.
No, the Beatles did not make an error on their semaphore.
You can find Crowley on the cover of Sgt. Pepper's Lonely Hearts Club Band

The second and third type of Elder Sign are related and are of a magical and graphical nature from Elder Times, carved in stone and compared to a swastika, and passed down into medieval Arabic magic and alchemy. Such signs could only exist in fiction, right?

I now place a germ of thought in the mind of the average reader.

In Norse-Heim (Northam/North-Heim or North Home) in Elder days there was a wizard. The wizard sacrificed himself to himself; he hanged himself from a tree for nine days. And there he died. Dead but dreaming, the wizard awoke wailing. With him the wizard brought back the knowledge of the mysteries. Runes we call them. Elder FUThARK to be precise.

The Elder Signs of the Norse

In Elder days great stones were carved with runes, swastikas, dragons, and sea monsters. Carved in stone along with these runes are curious tree-like markings. They are called Tree Runes.

These markings were a simple cipher. Runic ciphers took many different forms, but they followed the same basic rules for their construction. These ciphers in their many forms can be found carved in stone, cataloged in scholarly works on runes, and their influence can be seen in the strange sigils in Icelandic grimoires.

The Elder Signs of the Vikings

The basic cipher was adapted to the Younger Futhark in the Viking Age. I guess we could call the Younger Signs.
This image was scanned from my personal notes.

With Somethin’ on ’em Like What Ye Call a Swastika Naowadays

 As soon as I get around to it, I will show how this cipher was used in more creative ways including "flag runes" on runestones which developed into sigils and swastika-like symbols in Icelandic magic.

The Elder Signs of the Arabs

In medieval Baghdad there was a magical place called the House of Wisdom. Many books were written, translated and housed at the House of Wisdom. Books on agriculture, Greek philosophy, medicine, astrology, mathematics, geography, alchemy and other subjects were commissioned and stored there.

A member of the House of Wisdom, Abū ʿAbdallāh Muḥammad ibn Mūsā al-Khwārizm, wrote a popular book on algebra. He also helped introduce the concept of zero and positional numbering systems to the Arab world. Al-Khwarizm's mathematical work would later be translated into Latin and help increase mathematical knowledge in Europe.

In a brief exchange online, an Arab man informed me that it was also Al-Khwarizm who first adapted the tree runes for use in Arabic. This correspondent did not give me a source for this information, but I would love to see it. For reasons that I make clear in a bit, I believe the cipher was already popular among Arabs before Al-Khwarizm's time. Whether Al-Khwarizm ever saw tree runes or not, he is still important in the evolution of the cipher. You will see why in just a little bit.

The works of the Greek philosopher Dioscorides were translated into Arabic and held at the House of Wisdom. Some of the earlier translations might have actually been written in an Arabic version of the Tree Rune cipher.

You might think that's impossible, but before you start composing a scathing e-mail, please have a good look at the work of the 9th century alchemist and member of the House of Wisdom, Ibn Wahshiyya. In his book Ancient Alphabets and Hieroglyphic Characters Explained, Wahshiyya shows that knowledge of languages in Baghdad at the time even extended to dead languages. If you understand the sheer scope of the translations deposited in the House of Wisdom, it becomes easy to see how Arab mystics and alchemists were using ciphers based on rune ciphers and Egyptian hieroglyphs.

If you follow the link to Ibn Wahshiyya's work that I just gave, you should look over some of the ciphers given. Note that the Arabic alphabet is sometimes given in the old abjad order, and sometimes has hijā’ī letter order (read more on Arabic letter order HERE). That is because Al-Khwārizm helped in the introduction of zero and positional numbering systems to the Arab world. It should be noted that he did not originate the system (he got the idea from Indian works). He was not even the first Arab to use zero and a positional numbering system. He DID write the first popular Arab text book on the subject.

Prior to these mathematical revelations, Arabic letters were used as numbers in a unique numbering system. After the concepts of zero and number positions caught on, Arabic letters were grouped by shape and put into a different alphabetical order; forgotten were the old abjad words and their numerical significance. By the time Ibn Wahshiyya recorded the "Alphabet of Dioscorides", the origin of the cipher had already been thoroughly forgotten.

The Arabic description of the cipher reads:
"The alphabet of Dioscorides the philosopher, commonly called the Tree alphabet. He wrote on trees, shrubs, and herbs, and of their secret, useful, and noxious qualities in this alphabet, used since in their books by different philosophers."
 This cipher was commonly known as El-Mushajjar (the Tree alphabet). To make the cipher, you first divide your alphabet into smaller logical groups and place them one on top of the other. Then you make a vertical line. To one side of the line you mark the row and to the other side of the vertical you mark the letter  position in the row. The Elder and Younger Futhark versions both divided their alphabet into three groups. The Arabic version divided the alphabet into the ancient abjad "words". In the Viking version of the cipher the first marks were made to the left of the vertical and the second markings were made to the right of the vertical. This is reversed in El-Mushajjar and reflects the direction of reading (right to left). Here is a handy little table showing how the "Alphabet of Dioscorides" or "El-Mushajjar" is based on the Abjad "words" of the old Arabic alphabet.

Looking at the early Arabic version of this cipher it is easy to conclude that it was created BEFORE Arabs used the number zero (I will discuss this more in a bit). This and the fact that it was a common cipher with many books written in it (I have no reason to doubt Ibn Wahshiyya about those points)  leads me to believe it was already in use before the translation of the works of Dioscorides.

The Elder Signs of the Persians

The Arabic cipher El-Mushajjar was adapted further by the Persians and became known as  Khatt-i-Shajari (Tree Writing). If you erase one branch to the right of each El-Mushajjar character, you have the most common form of Khatt-i-Shajari (the form of the cipher given above for Arabic was also used but was not as common). This means the Persians began counting their divisions with the number zero. And yet the cipher retained the abjad letter order. This places the creation of Khatt-i-Shajari to a time in which the concept of zero and positional numbering were used by Persians.

Khatt-i-Shajari does not accommodate distinctly Persian letters. Not only that, but as Sir Richard Burton points out, "it contains only the ancient and universal Semitic letters, lacking the last six of Arabic".

There is a later Ottoman version of the cipher that includes more modern letters. Ottomans also made a purely numerical cipher based on the system.

If you would like to read what other people have written about El-Mushajjar and Khatt-i-Shajari, I first recommend reading this short section in A Year Amongst the Persians (Edward Granville Browne, published 1893). It shows the cipher was still in use in Persia during the 19th century. You also might want to read what Sir Richard Burton has to say in an article for Transactions of the Royal Society of Literature of the United Kingdom. The article is titled "The Ogham-Runes and El-Mushajjar". Burton also wrote on the topic in Ultima Thule. Although I am grateful for Burton's printing of 1001 Arabian Nights, his theories surrounding this cipher and its transmission seem more than a little eccentric.

The Elder Signs and Qanoon-e-Islam

You can read about the meaning and magical properties of Arabic letters in Qanoon-e-Islam, which was used by Lovecraft to cover the Necronomicon in The Case of Charles Dexter Ward. The book also describes in detail the construction of magical squares. The magic circles and cryptic diagrams appearing in Qanoon-e-Islam also contain numbers. These numbers are not random. They are derived from specific formulas similar to those used in the construction of magic squares.

As I already mentioned, Arabic letters were at one time also used as numbers. The numbers appearing in the illustrations of Qanoon-e-Islam are more properly written as letters with the El-Abjad values.

Magic Circle from Qanoon-e-Islam

This circle contains the numbers 5, 7, 8, and 9. If we replace the standard numerals with the abjad equivalents, the circle looks like this:

The letters are written from the center of the circle just as one would write them while making the circle on the ground as described.

If we use the El-Mushajjar cipher, the circle looks like this:

What do you see in the upper right portion of this magic circle? Does that look similar to the Elder Sign given in Lovecraft's own hand?


This post has been sitting in this form for more than a year. It is perhaps 50% finished. No one has shown the slightest bit of interest in the topic, but I am publishing it now because Halloween is coming up and I have nothing else written. As usual, I reserve the right to edit, correct, and rewrite any or all of this post whenever I feel like it. If you have questions or comments, please let me know.

Happy October! Happy Halloween!

Thursday, January 12, 2012

The Quest of Iranon

The Quest of Iranon

by H. P. Lovecraft

Written 28 Feb 1921
Published July-August 1935 in The Galleon, Vol. 1, No. 5, 12-20.

Into the granite city of Teloth wandered the youth, vine-crowned, his yellow hair glistening with myrrh and his purple robe torn with briers of the mountain Sidrak that lies across the antique bridge of stone. The men of Teloth are dark and stern, and dwell in square houses, and with frowns they asked the stranger whence he had come and what were his name and fortune. So the youth answered:

"I am Iranon, and come from Aira, a far city that I recall only dimly but seek to find again. I am a singer of songs that I learned in the far city, and my calling is to make beauty with the things remembered of childhood. My wealth is in little memories and dreams, and in hopes that I sing in gardens when the moon is tender and the west wind stirs the lotus-buds."

When the men of Teloth heard these things they whispered to one another; for though in the granite city there is no laughter or song, the stern men sometimes look to the Karthian hills in the spring and think of the lutes of distant Oonai whereof travellers have told. And thinking thus, they bade the stranger stay and sing in the square before the Tower of Mlin, though they liked not the colour of his tattered robe, nor the myrrh in his hair, nor his chaplet of vine-leaves, nor the youth in his golden voice. At evening Iranon sang, and while he sang an old man prayed and a blind man said he saw a nimbus over the singer's head. But most of the men of Teloth yawned, and some laughed and some went to sleep; for Iranon told nothing useful, singing only his memories, his dreams, and his hopes.

"I remember the twilight, the moon, and soft songs, and the window where I was rocked to sleep. And through the window was the street where the golden lights came, and where the shadows danced on houses of marble. I remember the square of moonlight on the floor, that was not like any other light, and the visions that danced on the moonbeams when my mother sang to me. And too, I remember the sun of morning bright above the many-coloured hills in summer, and the sweetness of flowers borne on the south wind that made the trees sing.

"Oh Aira, city of marble and beryl, how many are thy beauties! How I loved the warm and fragrant groves across the hyline Nithra, and the falls of the tiny Kra that flowed though the verdant valley! In those groves and in the vale the children wove wreathes for one another, and at dusk I dreamed strange dreams under the yath-trees on the mountain as I saw below me the lights of the city, and the curving Nithra reflecting a ribbon of stars.

"And in the city were the palaces of veined and tinted marble, with golden domes and painted walls, and green gardens with cerulean pools and crystal fountains. Often I played in the gardens and waded in the pools, and lay and dreamed among the pale flowers under the trees. And sometimes at sunset i would climb the long hilly street to the citadel and the open place, and look down upon Aira, the magic city of marble and beryl, splendid in a robe of golden flame.

"Long have I missed thee, Aira, for i was but young when we went into exile; but my father was thy King and I shall come again to thee, for it is so decreed of Fate. All through seven lands have I sought thee, and some day shall I reign over thy groves and gardens, thy streets and palaces, and sing to men who shall know whereof I sing, and laugh not nor turn away. For I am Iranon, who was a Prince in Aira."

That night the men of Teloth lodged the stranger in a stable, and in the morning an archon came to him and told him to go to the shop of Athok the cobbler, and be apprenticed to him.

"But I am Iranon, a singer of songs, " he said, "and have no heart for the cobbler's trade."

"All in Teloth must toil," replied the archon, "for that is the law." Then said Iranon:

"Wherefore do ye toil; is it not that ye may live and be happy? And if ye toil only that ye may toil more, when shall happiness find you? Ye toil to live, but is not life made of beauty and song? And if ye suffer no singers among you, where shall be the fruits of your toil? Toil without song is like a weary journey without an end. Were not death more pleasing?" But the archon was sullen and did not understand, and rebuked the stranger.

"Thou art a strange youth, and I like not thy face or thy voice. The words thou speakest are blasphemy, for the gods of Teloth have said that toil is good. Our gods have promised us a haven of light beyond death, where shall be rest without end, and crystal coldness amidst which none shall vex his mind with thought or his eyes with beauty. Go thou then to Athok the cobbler or be gone out of the city by sunset. All here must serve, and song is folly."

So Iranon went out of the stable and walked over the narrow stone streets between the gloomy square house of granite, seeking something green, for all was of stone. On the faces of men were frowns, but by the stone embankment along the sluggish river Zuro sat a young boy with sad eyes gazing into the waters to spy green budding branches washed down from the hills by the freshets. And the boy said to him:

"Art thou not indeed he of whom the archons tell, who seekest a far city in a fair land? I am Romnod, and borne of the blood of Teloth, but am not olf in the ways of the granite city, and yearn daily for the warm groves and the distant lands of beauty and song. Beyond the Karthian hills lieth Oonai, the city of lutes and dancing, which men whisper of and say is both lovely and terrible.Thither would I go were I old enough to find the way, and thither shouldst thou go and thou wouldst sing and have men listen to thee. Let us leave the city of Teloth and fare together among the hills of spring. Thou shalt shew me the ways of travel and I will attend thy songs at evening when the stars one by one bring dreams to the minds of dreamers. And peradventure it may be that Oonai the city of lutes and dancing is even the fair Aira thou seekest, for it is told that thou hast not known Aira since the old days, and a name often changeth. Let us go to Oonai, O Iranon of the golden head, where men shall know our longings and welcome us as brothers, nor even laugh or frown at what we say." And Iranon answered:

"Be it so, small one; if any in this stone place yearn for beauty he must seek the mountains and beyond, and I would not leave thee to pine by the sluggish Zuro. But think not that delight and understanding dwell just across the Karthian hills, or in any spot thou canst find in a day's, or a year's, or a lustrum's journey. Behold, when I was small like thee I dwelt in the valley of Narthos by the frigid Xari, where none would listen to my dreams; and I told myself that when older i would go to Sinara on the southern slope, and sing to smiling dromedary-men in the marketplace. But when I went to Sinara i found the dromedary-men all drunken and ribald, and saw that their songs were not as mine, so I travelled in a barge down the Xari to onyx-walled Jaren. And the soldiers at Jaren laughed at me and drave me out, so that I wandered to many cities. I have seen Stethelos that is below the great cataract, and have gazed on the marsh where Sarnath once stood. I have been to thraa, Ilarnek, and Kadatheron on the winding river Ai, and have dwelt long in Olathoe in the land of Lomar. But though i have had listeners sometimes, they have ever been few. and I know that welcome shall wait me only in Aira, the city of marble and beryl where my father once ruled as King. So for Aira shall we seek, though it were well to visit distant and lute-blessed oonai across the Karthianhills, which may indeed be Aira, though i think not. Aira's beauty is past imagining, and none can tell of it without rapture, whilist of Oonai the camel-drivers whisper leeringly."

At the sunset Iranon and small Romnod went forth from Teloth, and for long wandered amidst the green hills and cool forests. The way was rough and obscure, and never did they seem nearer to oonai the city of lutes and dancing; but in the dusk as the stars came out Iranon would sing of Aira and its beauties and Romnod would listen, so that they were both happy after a fashion. They ate plentifully of fruit and red berries, and marked not the passing of time, but many years must have slipped away. Small Romnod was now not so small, and spoke deeply instead of shrilly, though Iranon was always the same, and decked his golden hair with vines and fragrant resins found in the woods. So it came to pass that Romnod seemed older than Iranon, though he had been very small when Iranon had found him watching for green budding branches in Teloth beside the sluggish stone-banked Zuro.

Then one night when the moon was full the travellers came to a mountain crest and looked down upon the myriad light of Oonai. Peasants had told them they were near, and Iranon knew that this was not his native city of Aira. The lights of Oonai were not like those of Aira; for they were harsh and glaring, while the lights of Aira shine as softly and magically as shone the moonlight on the floor by the window where Iranon's mother once rocked him to sleep with song. But Oonai was a city of lutes and dancing, so Iranon and Romnod went down the steep slope that they might find men to whom sings and dreams would bring pleasure. And when they were come into the town they found rose-wreathed revellers bound from house to house and leaning from windows and balconies, who listened to the songs of Iranon and tossed him flowers and applauded when he was done. Then for a moment did Iranon believe he had found those who thought and felt even as he, though the town was not a hundredth as fair as Aira.

When dawn came Iranon looked about with dismay, for the domes of Oonai were not golden in the sun, but grey and dismal. And the men of Oonai were pale with revelling, and dull with wine, and unlike the radient men of Aira. But because the people had thrown him blossoms and acclaimed his sings Iranon stayed on, and with him Romnod, who liked the revelry of the town and wore in his dark hair roses and myrtle. Often at night Iranon sang to the revellers, but he was always as before, crowned only in the vine of the mountains and remembering the marble streets of Aira and the hyaline Nithra. In the frescoed halls of the Monarch did he sing, upon a crystal dais raised over a floor that was a mirror, and as he sang, he brought pictures to his hearers till the floor seemed to reflect old, beautiful, and half-remembered things instead of the wine-reddened feasters who pelted him with roses. And the King bade him put away his tattered purple, and clothed him in satin and cloth-of-gold, with rings of green jade and bracelets of tinted ivory, and lodged him in a gilded and tapestried chamber on a bed of sweet carven wood with canopies and coverlets of flower-embroidered silk. Thus dwelt Iranon in Oonai, the city of lutes and dancing.

It is not known how long Iranon tarried in Oonai, but one day the King brought to the palace some wild whirling dancers from the Liranian desert, and dusky flute-players from Drinen in the East, and after that the revellers threw their roses not so much at Iranon as at the dancers and flute-players. And day by day that Romnod who had been a small boy in granite Teloth grew coarser and redder with wine, till he dreamed less and less, amd listened with less delight to the songs of Iranon. But though Iranon was sad he ceased not to sing, and at evening told again of his dreams of Aira, the city of marble and beryl. Then one night the reddened and fattened Romnod snorted heavily amidst the poppied silks of his banquet-couch and died writhing, whilst Iranon, pale and slender, sang to himself in a far corner. And when Iranon had wept over the grave of Romnod and strewn it with green branches, such as Romnod used to love, he put aside his silks and gauds and went forgotten out of Oonai the city of lutes and dancing clad only in the ragged purple in which he had come, and garlanded with fresh vines from the mountains.

Into the sunset wandered Iranon, seeking still for his native land and for men who would understand his songs and dreams. In all the cities of Cydathria and in the lands beyond the Bnazie desert gay-faced children laughed at his olden songs and tattered robe of purple; but Iranon stayed ever young, and wore wreathes upon his golden head whilst he sang of Aira, delight of the past and hope of the future.

So came he one night to the squallid cot of an antique shepherd, bent and dirty, who kept flocks on a stony slope above a quicksand marsh. To this man Iranon spoke, as to so many others:

"Canst thou tell me where I may find Aira, the city of marble and beryl, where flows the hyaline nithra and where the falls of the tiny Kra sing to the verdant valleys and hills forested with yath trees?" and the shepherd, hearing, looked long and strangely at Iranon, as if recalling something very far away in time, and noted each line of the stranger's face, and his golden hair, and his crown of vine-leaves. But he was old, and shook his head as he replied:

"O stranger, i have indeed heard the name of Aira, and the other names thou hast spoken, but they come to me from afar down the waste of long years.I heard them in my youth from the lips of a playmate, a beggar's boy given to strange dreams, who would weave long tales about the moon and the flowers and the west wind. We used to laugh at him, for we knew him from his birth though he thought himself a King's son. He was comely, even as thou, but full of folly and strangeness; and he ranaway when small to find those who would listen gladly to his songs and dreams. How often hath he sung to me of lands that never were, and things that never can be! Of Aira did he speak much; of Aira and the river Nithra, and the falls of the tiny Kra. There would he ever say he once dwelt as a Prince, though here we knew him from his birth.Nor was there ever a marble city of Aira, or those who could delight in strange songs, save in the dreams of mine old playmate Iranon who is gone."

And in the twilight, as the stars came out one by one and the moon cast on the marsh a radiance like that which a child sees quivering on the floor as he is rocked to sleep at evening, there walked into the lethal quicksands a very old man in tattered purple, crowned with whithered vine-leaves and gazing ahead as if upon the golden domes of a fair city where dreams are understood. That night something of youth and beauty died in the elder world.

Friday, December 2, 2011

Comments on The Nameless City

I must admit I found myself bored through most of Lovecraft's short story "The Nameless City". This is an odd thing considering it is the first Lovecraft story to mention the mad poet Abdul Alhazred.

Before Lovecraft was Randolph Carter, he was Abdul Alhazred. In The Nameless City, Alhazred is mentioned along with Damascius and Afrasiab. This makes Alhazred seem real and yet mysterious at the same time. It also hints at Lovecraft's reading habits. Alhazred dreamed of the Nameless City the night before singing his famous couplet:

“That is not dead which can eternal lie,
And with strange aeons even death may die.”

This couplet is used later by Lovecraft in his fantastic story, The Call of Cthulhu.

Friday, October 14, 2011

The Nameless City

by H. P. Lovecraft

Written January 1921
Published November 1921 in The Wolverine, No. 11: 3-15.

When I drew nigh the nameless city I knew it was accursed. I was travelling in a parched and terrible valley under the moon, and afar I saw it protruding uncannily above the sands as parts of a corpse may protrude from an ill-made grave. Fear spoke from the age-worn stones of this hoary survivor of the deluge, this great-grandmother of the eldest pyramid; and a viewless aura repelled me and bade me retreat from antique and sinister secrets that no man should see, and no man else had ever dared to see.

Remote in the desert of Araby lies the nameless city, crumbling and inarticulate, its low walls nearly hidden by the sands of uncounted ages. It must have been thus before the first stones of Memphis were laid, and while the bricks of Babylon were yet unbaked. There is no legend so old as to give it a name, or to recall that it was ever alive; but it is told of in whispers around campfires and muttered about by grandams in the tents of sheiks, so that all the tribes shun it without wholly knowing why. It was of this place that Abdul Alhazred the mad poet dreamed on the night before he sang his unexplainable couplet:

“That is not dead which can eternal lie,
And with strange aeons even death may die.”

I should have known that the Arabs had good reason for shunning the nameless city, the city told of in strange tales but seen by no living man, yet I defied them and went into the untrodden waste with my camel. I alone have seen it, and that is why no other face bears such hideous lines of fear as mine; why no other man shivers so horribly when the night-wind rattles the windows. When I came upon it in the ghastly stillness of unending sleep it looked at me, chilly from the rays of a cold moon amidst the desert’s heat. And as I returned its look I forgot my triumph at finding it, and stopped still with my camel to wait for the dawn.

For hours I waited, till the east grew grey and the stars faded, and the grey turned to roseal light edged with gold. I heard a moaning and saw a storm of sand stirring among the antique stones though the sky was clear and the vast reaches of the desert still. Then suddenly above the desert’s far rim came the blazing edge of the sun, seen through the tiny sandstorm which was passing away, and in my fevered state I fancied that from some remote depth there came a crash of musical metal to hail the fiery disc as Memnon hails it from the banks of the Nile. My ears rang and my imagination seethed as I led my camel slowly across the sand to that unvocal stone place; that place too old for Egypt and Meroë to remember; that place which I alone of living men had seen.

In and out amongst the shapeless foundations of houses and palaces I wandered, finding never a carving or inscription to tell of those men, if men they were, who built the city and dwelt therein so long ago. The antiquity of the spot was unwholesome, and I longed to encounter some sign or device to prove that the city was indeed fashioned by mankind. There were certain proportions and dimensions in the ruins which I did not like. I had with me many tools, and dug much within the walls of the obliterated edifices; but progress was slow, and nothing significant was revealed. When night and the moon returned I felt a chill wind which brought new fear, so that I did not dare to remain in the city. And as I went outside the antique walls to sleep, a small sighing sandstorm gathered behind me, blowing over the grey stones though the moon was bright and most of the desert still.

I awaked just at dawn from a pageant of horrible dreams, my ears ringing as from some metallic peal. I saw the sun peering redly through the last gusts of a little sandstorm that hovered over the nameless city, and marked the quietness of the rest of the landscape. Once more I ventured within those brooding ruins that swelled beneath the sand like an ogre under a coverlet, and again dug vainly for relics of the forgotten race. At noon I rested, and in the afternoon I spent much time tracing the walls, and the bygone streets, and the outlines of the nearly vanished buildings. I saw that the city had been mighty indeed, and wondered at the sources of its greatness. To myself I pictured all the splendours of an age so distant that Chaldaea could not recall it, and thought of Sarnath the Doomed, that stood in the land of Mnar when mankind was young, and of Ib, that was carven of grey stone before mankind existed.

All at once I came upon a place where the bed-rock rose stark through the sand and formed a low cliff; and here I saw with joy what seemed to promise further traces of the antediluvian people. Hewn rudely on the face of the cliff were the unmistakable facades of several small, squat rock houses or temples; whose interiors might preserve many secrets of ages too remote for calculation, though sandstorms had long since effaced any carvings which may have been outside.

Very low and sand-choked were all of the dark apertures near me, but I cleared one with my spade and crawled through it, carrying a torch to reveal whatever mysteries it might hold. When I was inside I saw that the cavern was indeed a temple, and beheld plain signs of the race that had lived and worshipped before the desert was a desert. Primitive altars, pillars, and niches, all curiously low, were not absent; and though I saw no sculptures nor frescoes, there were many singular stones clearly shaped into symbols by artificial means. The lowness of the chiselled chamber was very strange, for I could hardly more than kneel upright; but the area was so great that my torch shewed only part at a time. I shuddered oddly in some of the far corners; for certain altars and stones suggested forgotten rites of terrible, revolting, and inexplicable nature, and made me wonder what manner of men could have made and frequented such a temple. When I had seen all that the place contained, I crawled out again, avid to find what the other temples might yield.

Night had now approached, yet the tangible things I had seen made curiosity stronger than fear, so that I did not flee from the long moon-cast shadows that had daunted me when first I saw the nameless city. In the twilight I cleared another aperture and with a new torch crawled into it, finding more vague stones and symbols, though nothing more definite than the other temple had contained. The room was just as low, but much less broad, ending in a very narrow passage crowded with obscure and cryptical shrines. About these shrines I was prying when the noise of a wind and of my camel outside broke through the stillness and drew me forth to see what could have frightened the beast.

The moon was gleaming vividly over the primeval ruins, lighting a dense cloud of sand that seemed blown by a strong but decreasing wind from some point along the cliff ahead of me. I knew it was this chilly, sandy wind which had disturbed the camel, and was about to lead him to a place of better shelter when I chanced to glance up and saw that there was no wind atop the cliff. This astonished me and made me fearful again, but I immediately recalled the sudden local winds I had seen and heard before at sunrise and sunset, and judged it was a normal thing. I decided that it came from some rock fissure leading to a cave, and watched the troubled sand to trace it to its source; soon perceiving that it came from the black orifice of a temple a long distance south of me, almost out of sight. Against the choking sand-cloud I plodded toward this temple, which as I neared it loomed larger than the rest, and shewed a doorway far less clogged with caked sand. I would have entered had not the terrific force of the icy wind almost quenched my torch. It poured madly out of the dark door, sighing uncannily as it ruffled the sand and spread about the weird ruins. Soon it grew fainter and the sand grew more and more still, till finally all was at rest again; but a presence seemed stalking among the spectral stones of the city, and when I glanced at the moon it seemed to quiver as though mirrored in unquiet waters. I was more afraid than I could explain, but not enough to dull my thirst for wonder; so as soon as the wind was quite gone I crossed into the dark chamber from which it had come.

This temple, as I had fancied from the outside, was larger than either of those I had visited before; and was presumably a natural cavern, since it bore winds from some region beyond. Here I could stand quite upright, but saw that the stones and altars were as low as those in the other temples. On the walls and roof I beheld for the first time some traces of the pictorial art of the ancient race, curious curling streaks of paint that had almost faded or crumbled away; and on two of the altars I saw with rising excitement a maze of well-fashioned curvilinear carvings. As I held my torch aloft it seemed to me that the shape of the roof was too regular to be natural, and I wondered what the prehistoric cutters of stone had first worked upon. Their engineering skill must have been vast.

Then a brighter flare of the fantastic flame shewed me that for which I had been seeking, the opening to those remoter abysses whence the sudden wind had blown; and I grew faint when I saw that it was a small and plainly artificial door chiselled in the solid rock. I thrust my torch within, beholding a black tunnel with the roof arching low over a rough flight of very small, numerous, and steeply descending steps. I shall always see those steps in my dreams, for I came to learn what they meant. At the time I hardly knew whether to call them steps or mere foot-holds in a precipitous descent. My mind was whirling with mad thoughts, and the words and warnings of Arab prophets seemed to float across the desert from the lands that men know to the nameless city that men dare not know. Yet I hesitated only a moment before advancing through the portal and commencing to climb cautiously down the steep passage, feet first, as though on a ladder.

It is only in the terrible phantasms of drugs or delirium that any other man can have had such a descent as mine. The narrow passage led infinitely down like some hideous haunted well, and the torch I held above my head could not light the unknown depths toward which I was crawling. I lost track of the hours and forgot to consult my watch, though I was frightened when I thought of the distance I must be traversing. There were changes of direction and of steepness, and once I came to a long, low, level passage where I had to wriggle feet first along the rocky floor, holding my torch at arm’s length beyond my head. The place was not high enough for kneeling. After that were more of the steep steps, and I was still scrambling down interminably when my failing torch died out. I do not think I noticed it at the time, for when I did notice it I was still holding it high above me as if it were ablaze. I was quite unbalanced with that instinct for the strange and the unknown which has made me a wanderer upon earth and a haunter of far, ancient, and forbidden places.

In the darkness there flashed before my mind fragments of my cherished treasury of daemoniac lore; sentences from Alhazred the mad Arab, paragraphs from the apocryphal nightmares of Damascius, and infamous lines from the delirious Image du Monde of Gauthier de Metz. I repeated queer extracts, and muttered of Afrasiab and the daemons that floated with him down the Oxus; later chanting over and over again a phrase from one of Lord Dunsany’s tales—“the unreverberate blackness of the abyss”. Once when the descent grew amazingly steep I recited something in sing-song from Thomas Moore until I feared to recite more:

“A reservoir of darkness, black
As witches’ cauldrons are, when fill’d
With moon-drugs in th’ eclipse distill’d.
Leaning to look if foot might pass
Down thro’ that chasm, I saw, beneath,
As far as vision could explore,
The jetty sides as smooth as glass,
Looking as if just varnish’d o’er
With that dark pitch the Sea of Death
Throws out upon its slimy shore.”

Time had quite ceased to exist when my feet again felt a level floor, and I found myself in a place slightly higher than the rooms in the two smaller temples now so incalculably far above my head. I could not quite stand, but could kneel upright, and in the dark I shuffled and crept hither and thither at random. I soon knew that I was in a narrow passage whose walls were lined with cases of wood having glass fronts. As in that Palaeozoic and abysmal place I felt of such things as polished wood and glass I shuddered at the possible implications. The cases were apparently ranged along each side of the passage at regular intervals, and were oblong and horizontal, hideously like coffins in shape and size. When I tried to move two or three for further examination, I found they were firmly fastened.               

I saw that the passage was a long one, so floundered ahead rapidly in a creeping run that would have seemed horrible had any eye watched me in the blackness; crossing from side to side occasionally to feel of my surroundings and be sure the walls and rows of cases still stretched on. Man is so used to thinking visually that I almost forgot the darkness and pictured the endless corridor of wood and glass in its low-studded monotony as though I saw it. And then in a moment of indescribable emotion I did see it.

Just when my fancy merged into real sight I cannot tell; but there came a gradual glow ahead, and all at once I knew that I saw the dim outlines of the corridor and the cases, revealed by some unknown subterranean phosphorescence. For a little while all was exactly as I had imagined it, since the glow was very faint; but as I mechanically kept on stumbling ahead into the stronger light I realised that my fancy had been but feeble. This hall was no relic of crudity like the temples in the city above, but a monument of the most magnificent and exotic art. Rich, vivid, and daringly fantastic designs and pictures formed a continuous scheme of mural painting whose lines and colours were beyond description. The cases were of a strange golden wood, with fronts of exquisite glass, and contained the mummified forms of creatures outreaching in grotesqueness the most chaotic dreams of man.

To convey any idea of these monstrosities is impossible. They were of the reptile kind, with body lines suggesting sometimes the crocodile, sometimes the seal, but more often nothing of which either the naturalist or the palaeontologist ever heard. In size they approximated a small man, and their fore legs bore delicate and evidently flexible feet curiously like human hands and fingers. But strangest of all were their heads, which presented a contour violating all known biological principles. To nothing can such things be well compared—in one flash I thought of comparisons as varied as the cat, the bulldog, the mythic Satyr, and the human being. Not Jove himself had so colossal and protuberant a forehead, yet the horns and the noselessness and the alligator-like jaw placed the things outside all established categories. I debated for a time on the reality of the mummies, half suspecting they were artificial idols; but soon decided they were indeed some palaeogean species which had lived when the nameless city was alive. To crown their grotesqueness, most of them were gorgeously enrobed in the costliest of fabrics, and lavishly laden with ornaments of gold, jewels, and unknown shining metals.

The importance of these crawling creatures must have been vast, for they held first place among the wild designs on the frescoed walls and ceiling. With matchless skill had the artist drawn them in a world of their own, wherein they had cities and gardens fashioned to suit their dimensions; and I could not but think that their pictured history was allegorical, perhaps shewing the progress of the race that worshipped them. These creatures, I said to myself, were to the men of the nameless city what the she-wolf was to Rome, or some totem-beast is to a tribe of Indians.

Holding this view, I thought I could trace roughly a wonderful epic of the nameless city; the tale of a mighty sea-coast metropolis that ruled the world before Africa rose out of the waves, and of its struggles as the sea shrank away, and the desert crept into the fertile valley that held it. I saw its wars and triumphs, its troubles and defeats, and afterward its terrible fight against the desert when thousands of its people—here represented in allegory by the grotesque reptiles—were driven to chisel their way down through the rocks in some marvellous manner to another world whereof their prophets had told them. It was all vividly weird and realistic, and its connexion with the awesome descent I had made was unmistakable. I even recognised the passages.

As I crept along the corridor toward the brighter light I saw later stages of the painted epic—the leave-taking of the race that had dwelt in the nameless city and the valley around for ten million years; the race whose souls shrank from quitting scenes their bodies had known so long, where they had settled as nomads in the earth’s youth, hewing in the virgin rock those primal shrines at which they never ceased to worship. Now that the light was better I studied the pictures more closely, and, remembering that the strange reptiles must represent the unknown men, pondered upon the customs of the nameless city. Many things were peculiar and inexplicable. The civilisation, which included a written alphabet, had seemingly risen to a higher order than those immeasurably later civilisations of Egypt and Chaldaea, yet there were curious omissions. I could, for example, find no pictures to represent deaths or funeral customs, save such as were related to wars, violence, and plagues; and I wondered at the reticence shewn concerning natural death. It was as though an ideal of earthly immortality had been fostered as a cheering illusion.

Still nearer the end of the passage were painted scenes of the utmost picturesqueness and extravagance; contrasted views of the nameless city in its desertion and growing ruin, and of the strange new realm or paradise to which the race had hewed its way through the stone. In these views the city and the desert valley were shewn always by moonlight, a golden nimbus hovering over the fallen walls and half revealing the splendid perfection of former times, shewn spectrally and elusively by the artist. The paradisal scenes were almost too extravagant to be believed; portraying a hidden world of eternal day filled with glorious cities and ethereal hills and valleys. At the very last I thought I saw signs of an artistic anti-climax. The paintings were less skilful, and much more bizarre than even the wildest of the earlier scenes. They seemed to record a slow decadence of the ancient stock, coupled with a growing ferocity toward the outside world from which it was driven by the desert. The forms of the people—always represented by the sacred reptiles—appeared to be gradually wasting away, though their spirit as shewn hovering about the ruins by moonlight gained in proportion. Emaciated priests, displayed as reptiles in ornate robes, cursed the upper air and all who breathed it; and one terrible final scene shewed a primitive-looking man, perhaps a pioneer of ancient Irem, the City of Pillars, torn to pieces by members of the elder race. I remembered how the Arabs fear the nameless city, and was glad that beyond this place the grey walls and ceiling were bare.

As I viewed the pageant of mural history I had approached very closely the end of the low-ceiled hall, and was aware of a great gate through which came all of the illuminating phosphorescence. Creeping up to it, I cried aloud in transcendent amazement at what lay beyond; for instead of other and brighter chambers there was only an illimitable void of uniform radiance, such as one might fancy when gazing down from the peak of Mount Everest upon a sea of sunlit mist. Behind me was a passage so cramped that I could not stand upright in it; before me was an infinity of subterranean effulgence.

Reaching down from the passage into the abyss was the head of a steep flight of steps—small numerous steps like those of the black passages I had traversed—but after a few feet the glowing vapours concealed everything. Swung back open against the left-hand wall of the passage was a massive door of brass, incredibly thick and decorated with fantastic bas-reliefs, which could if closed shut the whole inner world of light away from the vaults and passages of rock. I looked at the steps, and for the nonce dared not try them. I touched the open brass door, and could not move it. Then I sank prone to the stone floor, my mind aflame with prodigious reflections which not even a death-like exhaustion could banish.

As I lay still with closed eyes, free to ponder, many things I had lightly noted in the frescoes came back to me with new and terrible significance—scenes representing the nameless city in its heyday, the vegetation of the valley around it, and the distant lands with which its merchants traded. The allegory of the crawling creatures puzzled me by its universal prominence, and I wondered that it should be so closely followed in a pictured history of such importance. In the frescoes the nameless city had been shewn in proportions fitted to the reptiles. I wondered what its real proportions and magnificence had been, and reflected a moment on certain oddities I had noticed in the ruins. I thought curiously of the lowness of the primal temples and of the underground corridor, which were doubtless hewn thus out of deference to the reptile deities there honoured; though it perforce reduced the worshippers to crawling. Perhaps the very rites had involved a crawling in imitation of the creatures. No religious theory, however, could easily explain why the level passage in that awesome descent should be as low as the temples—or lower, since one could not even kneel in it. As I thought of the crawling creatures, whose hideous mummified forms were so close to me, I felt a new throb of fear. Mental associations are curious, and I shrank from the idea that except for the poor primitive man torn to pieces in the last painting, mine was the only human form amidst the many relics and symbols of primordial life.

But as always in my strange and roving existence, wonder soon drove out fear; for the luminous abyss and what it might contain presented a problem worthy of the greatest explorer. That a weird world of mystery lay far down that flight of peculiarly small steps I could not doubt, and I hoped to find there those human memorials which the painted corridor had failed to give. The frescoes had pictured unbelievable cities, hills, and valleys in this lower realm, and my fancy dwelt on the rich and colossal ruins that awaited me.

My fears, indeed, concerned the past rather than the future. Not even the physical horror of my position in that cramped corridor of dead reptiles and antediluvian frescoes, miles below the world I knew and faced by another world of eerie light and mist, could match the lethal dread I felt at the abysmal antiquity of the scene and its soul. An ancientness so vast that measurement is feeble seemed to leer down from the primal stones and rock-hewn temples in the nameless city, while the very latest of the astounding maps in the frescoes shewed oceans and continents that man has forgotten, with only here and there some vaguely familiar outline. Of what could have happened in the geological aeons since the paintings ceased and the death-hating race resentfully succumbed to decay, no man might say. Life had once teemed in these caverns and in the luminous realm beyond; now I was alone with vivid relics, and I trembled to think of the countless ages through which these relics had kept a silent and deserted vigil.

Suddenly there came another burst of that acute fear which had intermittently seized me ever since I first saw the terrible valley and the nameless city under a cold moon, and despite my exhaustion I found myself starting frantically to a sitting posture and gazing back along the black corridor toward the tunnels that rose to the outer world. My sensations were much like those which had made me shun the nameless city at night, and were as inexplicable as they were poignant. In another moment, however, I received a still greater shock in the form of a definite sound—the first which had broken the utter silence of these tomb-like depths. It was a deep, low moaning, as of a distant throng of condemned spirits, and came from the direction in which I was staring. Its volume rapidly grew, till soon it reverberated frightfully through the low passage, and at the same time I became conscious of an increasing draught of cold air, likewise flowing from the tunnels and the city above. The touch of this air seemed to restore my balance, for I instantly recalled the sudden gusts which had risen around the mouth of the abyss each sunset and sunrise, one of which had indeed served to reveal the hidden tunnels to me. I looked at my watch and saw that sunrise was near, so braced myself to resist the gale which was sweeping down to its cavern home as it had swept forth at evening. My fear again waned low, since a natural phenomenon tends to dispel broodings over the unknown.

More and more madly poured the shrieking, moaning night-wind into that gulf of the inner earth. I dropped prone again and clutched vainly at the floor for fear of being swept bodily through the open gate into the phosphorescent abyss. Such fury I had not expected, and as I grew aware of an actual slipping of my form toward the abyss I was beset by a thousand new terrors of apprehension and imagination. The malignancy of the blast awakened incredible fancies; once more I compared myself shudderingly to the only other human image in that frightful corridor, the man who was torn to pieces by the nameless race, for in the fiendish clawing of the swirling currents there seemed to abide a vindictive rage all the stronger because it was largely impotent. I think I screamed frantically near the last—I was almost mad—but if I did so my cries were lost in the hell-born babel of the howling wind-wraiths. I tried to crawl against the murderous invisible torrent, but I could not even hold my own as I was pushed slowly and inexorably toward the unknown world. Finally reason must have wholly snapped, for I fell to babbling over and over that unexplainable couplet of the mad Arab Alhazred, who dreamed of the nameless city:

“That is not dead which can eternal lie,
And with strange aeons even death may die.”

Only the grim brooding desert gods know what really took place—what indescribable struggles and scrambles in the dark I endured or what Abaddon guided me back to life, where I must always remember and shiver in the night-wind till oblivion—or worse—claims me. Monstrous, unnatural, colossal, was the thing—too far beyond all the ideas of man to be believed except in the silent damnable small hours when one cannot sleep.

I have said that the fury of the rushing blast was infernal—cacodaemoniacal—and that its voices were hideous with the pent-up viciousness of desolate eternities. Presently those voices, while still chaotic before me, seemed to my beating brain to take articulate form behind me; and down there in the grave of unnumbered aeon-dead antiquities, leagues below the dawn-lit world of men, I heard the ghastly cursing and snarling of strange-tongued fiends. Turning, I saw outlined against the luminous aether of the abyss what could not be seen against the dusk of the corridor—a nightmare horde of rushing devils; hate-distorted, grotesquely panoplied, half-transparent; devils of a race no man might mistake—the crawling reptiles of the nameless city.

And as the wind died away I was plunged into the ghoul-peopled blackness of earth’s bowels; for behind the last of the creatures the great brazen door clanged shut with a deafening peal of metallic music whose reverberations swelled out to the distant world to hail the rising sun as Memnon hails it from the banks of the Nile.                  

Tuesday, May 3, 2011

Return to the Crystal Cave of the Giants

Since my original post about the Crystal Cave of the Giants, more people have explored it. Here's a video about one group that went in:

When reading accounts of Merlin or Tibetan saints or Kal-El, I often wonder what it would be like to have a crystal cave to retreat to. Obviously I couldn't use this particular cave, but maybe I could find one a little more hospitable.

Thursday, April 28, 2011

I Have a New Blog on the Occult and Magick

After more than a decade of relative spiritual and magical stagnation I have decided to pick up my occult practice again. At first I was going to incorporate this change into this Yog-Blog since I do not want to split my interests into ten different blogs and this one is nice and convenient. But now I've decided I need at least two blogs.

Long story short, I just created another blog. It will contain posts about things that are generally occult and magical. This doesn't mean posts here won't have a distinct occulty flavor, it just means the other blog will have a more general occult vibe and Yog-Sothothery will not lose its Yogjuice.

Go visit The Occult and Magick Blog at http://theoccultandmagick.blogspot.com/

Friday, April 8, 2011

Hello Iran

Insomnia is a hell of a thing.

So, it's almost 2 a.m. where I am and I cannot sleep. So I go to my blog stats and see where people are reading my blog.

That's right, I'm big in Iran. Welcome.


Sometimes I pick up books I haven't read in years and I flip through them to see if I feel like reading them again. Tonight I picked up "Amulets and Talismans" by Sir Wallis Budge.

While flipping through the book I came to a page with a small piece of paper inserted. The paper had the sigil of Humwawa from the Simonomicon. The paper was placed over the illustration of THE MASK OF HUMBABA. I remember now how I had placed the paper (as a teenager) thinking I would do more research on the Demon Humwawa/Humbaba and find out more about this mask.

So, being bored, I did an image search for "British Museum mask Humbaba" and found quite a few images that appear to be of the same mask. There's not much info on the mask really, but now I know what the mask actually looks like.

In a previous post, I gave the true form of Humwawa's sigil from the Necronomicon. Here is that sigil again. Does it look like the Mask of Humbaba? Yep, except it has whiskers. Look at the eyes in Budge's bad sketch and look at the following sigil. You will find Budge's Amulets and Talismans in the bibliography and selected reading list for Simon's Necronomicon.

Thursday, April 7, 2011

DONE: Book of Secrets by Chris Roberson

I saw this attractive little book at the bookstore last month and bought it to fill all the time I seem to be waiting around lately.

The front cover has a picture of an old looking book and reads "It holds the key to the mysteries of the ages, and everyone wants it... BOOK OF SECRETS"

The back cover reads:
"Spencer Finch is an investigative journalist

He's on the trail of the greatest secret in human history...

... hidden within a bunch of old pulp science fiction stories?"

I just couldn't resist.

For the most part I enjoyed the story. Stories actually. There's more than one story going on in Book of Secrets. I like the story of the passing down of the hero mantle and also of the passing along of the Book of Secrets.

When the story of the Book of Secrets is coming to its current resolution within the last 50 pages... things take a random turn. I have to admit, my mind was projecting a grittier, bloodier, more violent ending. But I guess that's not the story Chris Roberson had in mind.

Book of Secrets is a good read and I am looking forward to reading more by Chris Roberson.