Yog Sothothery - The Definitive H.P. Lovecraft Anthology

by H. P. Lovecraft

  Chapter V

  “I wonder to this day that I didn’t go stark mad in that instant—or in the moments and hours afterward. In front of me was the slain body of my boy—the only human being I had to cherish—and ten feet away, in front of that shrouded easel, was the body of his best friend, with a nameless coil of horror wound around it. Below was the scalped corpse of that she-monster, about whom I was half-ready to believe anything. I was too dazed to analyse the probability of the hair story—and even if I had not been, that dismal howling coming from Aunt Sophy’s cabin would have been enough to quiet doubt for the nonce.

  “If I’d been wise, I’d have done just what poor Denis told me to—burned the picture and the body-grasping hair at once and without curiosity—but I was too shaken to be wise. I suppose I muttered foolish things over my boy—and then I remembered that the night was wearing on and that the servants would be back in the morning. It was plain that a matter like this could never be explained, and I knew that I must cover things up and invent a story.

  “That coil of hair around Marsh was a monstrous thing. As I poked at it with a sword which I took from the wall I almost thought I felt it tighten its grip on the dead man. I didn’t dare touch it—and the longer I looked at it the more horrible things I noticed about it. One thing gave me a start. I won’t mention it—but it partly explained the need for feeding the hair with queer oils as Marceline had always done.

  “In the end I decided to bury all three bodies in the cellar—with quicklime, which I knew we had in the storehouse. It was a night of hellish work. I dug three graves—my boy’s a long way from the other two, for I didn’t want him to be near either the woman’s body or her hair. I was sorry I couldn’t get the coil from around poor Marsh. It was terrible work getting them all down to the cellar. I used blankets in carting the woman and the poor devil with the coil around him. Then I had to get two barrels of lime from the storehouse. God must have given me strength, for I not only moved them but filled all three graves without a hitch.

  “Some of the lime I made into whitewash. I had to take a stepladder and fix over the parlour ceiling where the blood had oozed through. And I burned nearly everything in Marceline’s room, scrubbing the walls and floor and heavy furniture. I washed up the attic studio, too, and the trail and footprints that led there. And all the time I could hear old Sophy’s wailing in the distance. The devil must have been in that creature to let her voice go on like that. But she always was howling queer things. That’s why the field niggers didn’t get scared or curious that night. I locked the studio door and took the key to my room. Then I burned all my stained clothes in the fireplace. By dawn the whole house looked quite normal so far as any casual eye could tell. I hadn’t dared touch the covered easel, but meant to attend to that later.

  “Well, the servants came back the next day, and I told them all the young folks had gone to St. Louis. None of the field hands seemed to have seen or heard anything, and old Sophonisba’s wailing had stopped at the instant of sunrise. She was like a sphinx after that, and never let out a word of what had been on her brooding brain the day and night before.

  “Later on I pretended that Denis and Marsh and Marceline had gone back to Paris and had a certain discreet agency mail me letters from there—letters I had fixed up in forged handwriting. It took a good deal of deceit and reticence to explain things to various friends, and I know people have secretly suspected me of holding something back. I had the deaths of Marsh and Denis reported during the war, and later said Marceline had entered a convent. Fortunately Marsh was an orphan whose eccentric ways had alienated him from his people in Louisiana. Things might have been patched up a good deal better for me if I had had the sense to burn the picture, sell the plantation, and give up trying to manage things with a shaken and overstrained mind. You see what my folly has brought me to. Failing crops—hands discharged one by one—place falling to ruin—and myself a hermit and a target for dozens of queer countryside stories. Nobody will come around here after dark nowadays—or any other time if it can be helped. That’s why I knew you must be a stranger.

  “And why do I stay here? I can’t wholly tell you that. It’s bound up too closely with things at the very rim of sane reality. It wouldn’t have been so, perhaps, if I hadn’t looked at the picture. I ought to have done as poor Denis told me. I honestly meant to burn it when I went up to that locked studio a week after the horror, but I looked first—and that changed everything.

  “No—there’s no use telling what I saw. You can, in a way, see for yourself presently; though time and dampness have done their work. I don’t think it can hurt you if you want to take a look, but it was different with me. I knew too much of what it all meant.

  “Denis had been right—it was the greatest triumph of human art since Rembrandt, even though still unfinished. I grasped that at the start, and knew that poor Marsh had justified his decadent philosophy. He was to painting what Baudelaire was to poetry—and Marceline was the key that had unlocked his inmost stronghold of genius.

  “The thing almost stunned me when I pulled aside the hangings—stunned me before I half knew what the whole thing was. You know, it’s only partly a portrait. Marsh had been pretty literal when he hinted that he wasn’t painting Marceline alone, but what he saw through her and beyond her.

  “Of course she was in it—was the key to it, in a sense—but her figure only formed one point in a vast composition. She was nude except for that hideous web of hair spun around her, and was half-seated, half-reclining on a sort of bench or divan, carved in patterns unlike those of any known decorative tradition. There was a monstrously shaped goblet in one hand, from which was spilling fluid whose colour I haven’t been able to place or classify to this day—I don’t know where Marsh even got the pigments.

  “The figure and the divan were in the left-hand foreground of the strangest sort of scene I ever saw in my life. I think there was a faint suggestion of its all being a kind of emanation from the woman’s brain, yet there was also a directly opposite suggestion—as if she were just an evil image or hallucination conjured up by the scene itself.

  “I can’t tell you know whether it’s an exterior or an interior—whether those hellish Cyclopean vaultings are seen from the outside or the inside, or whether they are indeed carven stone and not merely a morbid fungous arborescence. The geometry of the whole thing is crazy—one gets the acute and obtuse angles all mixed up.

  “And God! The shapes of nightmare that float around in that perpetual daemon twilight! The blasphemies that lurk and leer and hold a Witches’ Sabbat with that woman as a high-priestess! The black shaggy entities that are not quite goats—the crocodile-headed beast with three legs and a dorsal row of tentacles—and the flat-nosed aegipans dancing in a pattern that Egypt’s priests knew and called accursed!

  “But the scene wasn’t Egypt—it was behind Egypt; behind even Atlantis; behind fabled Mu, and myth—whispered Lemuria. It was the ultimate fountain-head of all horror on this earth, and the symbolism shewed only too clearly how integral a part of it Marceline was. I think it must be the unmentionable R’lyeh, that was not built by any creatures of this planet—the thing Marsh and Denis used to talk about in the shadows with hushed voices. In the picture it appears that the whole scene is deep under water—though everybody seems to be breathing freely.

  “Well—I couldn’t do anything but look and shudder, and finally I saw that Marceline was watching me craftily out of those monstrous, dilated eyes on the canvas. It was no mere superstition—Marsh had actually caught something of her horrible vitality in his symphonies of line and colour, so that she still brooded and stared and hated, just as if most of her weren’t down in the cellar under quicklime. And it was worst of all when some of those Hecate-born snaky strands of hair began to lift themselves up from the surface and grope out into the room toward me.

  “Then it was that I knew the last final horror, and realised I was a guardian and a prisoner forever. she was the thing from wh
ich the first dim legends of Medusa and the Gorgons had sprung, and something in my shaken will had been captured and turned to stone at last. Never again would I be safe from those coiling snaky strands—the strands in the picture, and those that lay brooding under the lime near the wine casks. All too late I recalled the tales of the virtual indestructibility, even through centuries of burial, of the hair of the dead.

  “My life since has been nothing but horror and slavery. Always there had lurked the fear of what broods down in the cellar. In less than a month the niggers began whispering about the great black snake that crawled around near the wine casks after dark, and about the curious way its trail would lead to another spot six feet away. Finally I had to move everything to another part of the cellar, for not a darky could be induced to go near the place where the snake was seen.

  “Then the field hands began talking about the black snake that visited old Sophonisba’s cabin every night after midnight. One of them shewed me its trail—and not long afterward I found out that Aunt Sophy herself had begun to pay strange visits to the cellar of the big house, lingering and muttering for hours in the very spot where none of the other blacks would go near. God, but I was glad when that old witch died! I honestly believe she had been a priestess of some ancient and terrible tradition back in Africa. She must have lived to be almost a hundred and fifty years old.

  “Sometimes I think I hear something gliding around the house at night. There will be a queer noise on the stairs, where the boards are loose, and the latch of my room will rattle as if with an inward pressure. I always keep my door locked, of course. Then there are certain mornings when I seem to catch a sickish musty odour in the corridors, and notice a faint, ropy trail through the dust of the floors. I know I must guard the hair in the picture, for if anything were to happen to it, there are entities in this house which would take a sure and terrible revenge. I don’t even dare to die—for life and death are all one to those in the clutch of what came out of R’lyeh. Something would be on hand to punish my neglect. Medusa’s coil has got me, and it will always be the same. Never mix up with secret and ultimate horror, young man, if you value your immortal soul.”

  Chapter VI

  As the old man finished his story I saw that the small lamp had long since burned dry, and that the large one was nearly empty. It must, I knew, be near dawn; and my ears told me that the storm was over. The tale had held me in a half-daze, and I almost feared to glance at the door lest it reveal an inward pressure from some unnamable source. It would be hard to say which had the greatest hold on me—stark horror, incredulity, or a kind of morbid fantastic curiosity. I was wholly beyond speech and had to wait for my strange host to break the spell.

  “Do you want to see—the thing?”

  His voice was very low and hesitant, and I saw he was tremendously in earnest. Of my various emotions, curiosity gained the upper hand; and I nodded silently. He rose, lighting a candle on a nearby table and holding it high before him as he opened the door.

  “Come with me—upstairs.”

  I dreaded to brave those musty corridors again, but fascination downed all my qualms. The boards creaked beneath our feet, and I trembled once when I thought I saw a faint, rope-like line trace in the dust near the staircase.

  The steps of the attic were noisy and rickety, with several of the treads missing. I was just glad of the need of looking sharply to my footing, for it gave me an excuse not to glance about. The attic corridor was pitch-black and heavily cobwebbed, and inch-deep with dust except where a beaten trail led to a door on the left at the farther end. As I noticed the rotting remains of a thick carpet I thought of the other feet which had pressed it in bygone decades—of these, and of one thing which did not have feet.

  The old man took me straight to the door at the end of the beaten path, and fumbled a second with the rusty latch. I was acutely frightened now that I knew the picture was so close, yet dared not retreat at this stage. In another moment my host was ushering me into the deserted studio.

  The candle light was very faint, yet served to shew most of the principal features. I noticed the low, slanting roof, the huge enlarged dormer, the curios and trophies hung on the wall—and most of all, the great shrouded easel in the centre of the floor. To that easel de Russy now walked, drawing aside the dusty velvet hangings on the side turned away from me, and motioning me silently to approach. It took a good deal of courage to make me obey, especially when I saw how my guide’s eyes dilated in the wavering candle light as he looked at the unveiled canvas. But again curiosity conquered everything, and I walked around to where de Russy stood. Then I saw the damnable thing.

  I did not faint—though no reader can possibly realise the effort it took to keep me from doing so. I did cry out, but stopped short when I saw the frightened look on the old man’s face. as I had expected, the canvas was warped, mouldy, and scabrous from dampness and neglect; but for all that I could trace the monstrous hints of evil cosmic outsideness that lurked all through the nameless scene’s morbid content and perverted geometry.

  It was as the old man had said—a vaulted, columned hell of mingled Black Masses and Witches’ Sabbaths—and what perfect completion could have added to it was beyond my power to guess. Decay had only increased the utter hideousness of its wicked symbolism and diseased suggestion, for the parts most affected by time were just those parts of the picture which in Nature—or in the extra-cosmic realm that mocked Nature—would be apt to decay and disintegrate.

  The utmost horror of all, of course, was Marceline—and as I saw the bloated, discoloured flesh I formed the odd fancy that perhaps the figure on the canvas had some obscure, occult linkage with the figure which lay in quicklime under the cellar floor. Perhaps the lime had preserved the corpse instead of destroying it—but could it have preserved those black, malign eyes that glared and mocked at me from their painted hell?

  And there was something else about the creature which I could not fail to notice—something which de Russy had not been able to put into words, but which perhaps had something to do with Denis’ wish to kill all those of his blood who had dwelt under the same roof with her. Whether Marsh knew, or whether the genius in him painted it without his knowing, none could say. But Denis and his father could not have known till they saw the picture.

  Surpassing all in horror was the streaming black hair—which covered the rotting body, but which was itself not even slightly decayed. All I had heard of it was amply verified. It was nothing human, this ropy, sinuous, half-oily, half-crinkly flood of serpent darkness. Vile, independent life proclaimed itself at every unnatural twist and convolution, and the suggestion of numberless reptilian heads at the out-turned ends was far too marked to be illusory or accidental.

  The blasphemous thing held me like a magnet. I was helpless, and did not wonder at the myth of the gorgon’s glance which turned all beholders to stone. Then I thought I saw a change come over the thing. The leering features perceptibly moved, so that the rotting jaw fell, allowing the thick, beast-like lips to disclose a row of pointed yellow fangs. The pupils of the fiendish eyes dilated, and the eyes themselves seemed to bulge outward. And the hair—that accursed hair! It had begun to rustle and wave perceptibly, the snake-heads all turning toward de Russy and vibrating as if to strike!

  Reason deserted me altogether, and before I knew what I was doing I drew my automatic and sent a shower of twelve steel-jacketed bullets through the shocking canvas. The whole thing at once fell to pieces, even the frame toppling from the easel and clattering to the dust-covered floor. But though this horror was shattered, another had risen before me in the form of de Russy himself, whose maddened shrieks as he saw the picture vanish were almost as terrible as the picture itself had been.

  With a half-articulate scream of "God, now you’ve done it!" the frantic old man seized me violently by the arm and commenced to drag me out of the room and down the rickety stairs. He had dropped the candle in his panic; but dawn was near, and some faint grey light was f
iltering in through the dust-covered windows. I tripped and stumbled repeatedly, but never for a moment would my guide slacken his pace.

  “Run!" he shrieked, "run for your life! You don’t know what you’ve done! I never told you the whole thing! There were things I had to do—the picture talked to me and told me. I had to guard and keep it—now the worst will happen! She and that hair will come up out of their graves, for God knows what purpose!

  “Hurry, man! For God’s sake let’s get out of here while there’s time. If you have a car take me along to Cape Girardeau with you. It may well get me in the end, anywhere, but I’ll give it a run for its money. Out of here—quick!”

  As we reached the ground floor I became aware of a slow, curious thumping from the rear of the house, followed by a sound of a door shutting. De Russy had not heard the thumping, but the other noise caught his ear and drew from him the most terrible shriek that ever sounded in human throat.

  “Oh, God—great God—that was the cellar door—she’s coming—”

  By this time I was desperately wrestling with the rusty latch and sagging hinges of the great front door—almost as frantic as my host now that I heard the slow, thumping tread approaching from the unknown rear rooms of the accursed mansion. The night’s rain had warped the oaken planks, and the heavy door stuck and resisted even more strongly than it had when I forced an entrance the evening before.

  Somewhere a plank creaked beneath the foot of whatever was walking, and the sound seemed to snap the last cord of sanity in the poor old man. With a roar like that of a maddened bull he released his grip on me and made a plunge to the right, through the open door of a room which I judged had been a parlour. A second later, just as I got the front door open and was making my own escape, I heard the tinkling clatter of broken glass and knew he had leapt through a window. And as I bounded off the sagging porch to commence my mad race down the long, weed-grown drive I thought I could catch the thud of dead, dogged footsteps which did not follow me, but which kept leadenly on through the door of the cobwebbed parlour.