Terror
can come from all directions, but in Lovecraft it almost always comes from
below, either under the ground, or under the sea. Here are just a few of the many examples in
his work.
From The Outsider: “In the dank twilight I climbed the worn and
aged stone stairs till I reached the level where they ceased, and thereafter
clung perilously to small footholds leading upward. Ghastly and terrible was that dead, stairless
cylinder of rock; black, ruined and deserted…But more ghastly and terrible
still was the slowness of my progress; for climb as I might , the darkness
overhead grew no thinner…I shivered as I wondered why I did not reach the
light, and would have looked down had I dared.”
From Dagon:
“…but I think my horror was greater when I gained the summit of the
mound and looked down the other side into an immeasurable pit or canyon, whose
black recesses the moon had not yet soared high enough to illumine. I felt myself on the edge of the world;
peering over the rim into a fathomless chaos of eternal night.”
From At the Mountains of Madness: “Not long afterward a steep descent in a
long, low, doorless, and peculiarly sculptureless corridor led us to believe
that we were approaching the tunnel mouth at last…Then the corridor ended in a
prodigious open space which made us gasp involuntarily—a perfect inverted
hemisphere, obviously deep underground…with low archways opening around parts
of the circumference but one, and that one yawning cavernously with a black, arched
aperture which broke the symmetry of the vault…It was the entrance to the great
abyss.”
From
The Shadow Over Innsmouth: “…The tense
extremes of horror are lessening, and I feel queerly drawn towards the unknown
sea-deeps instead of fearing them…I shall plan my cousin’s escape from that
Canton madhouse...We shall swim out to that brooding reef in the sea and dive
down through black abysses to Cyclopean and many columned Y’ha-nthlei…”
From The Rats in the Walls: “Above the hellishly littered steps arched a
descending passage seemingly chiseled from the solid rock , and conducting a
current of air…It was then that Sir William, examining the hewn walls, made the
odd observation that the passage, according to the direction of the strokes,
must have been chiseled from beneath…After
ploughing down a few steps amidst the gnawed bones we saw that there was light
ahead…It was a twilit grotto of enormous height, stretching away further than
any eye could see; a subterraneous world of limitless mystery and horrible
suggestion.”
Similar
passages can be found in Pickman’s Model,
The Lurking Fear, and The Shadow Out of Time. In The Colour Out of Space, considerable
time is spent peering over the edge of a weirdly contaminated well, which is
then later explored by several of the characters, two of whom do not return to
the surface. It seems in so many of
Lovecraft’s stories that some terrifying and awesome discovery, the awful
truth, lies beneath the ground, or beneath the waves. Is
this because what is dead, or forgotten, or “waits dreaming” can be found
there?
Did
Lovecraft ever in fearfulness look skyward?
What would he have made of the warning
in the science fiction classic, The Thing
from Another World (1951)—“Tell the world. Tell this to everyone, wherever
they are. Watch the skies everywhere. Keep looking. Keep watching the
skies." Why are so many of his
horrors located in some version of a basement?
(Often an underwater
basement.)
Plenty
of scary things can go on in the attic, as in The Exorcist, (1973) or Hellraiser
(1987), among others. About a decade
before The Exorcist, there was a
wonderful episode in the first season of the original Outer Limits, called “The Guests”.
The plot involved a young drifter who happens upon a house filled with
several fairly desperate, unpleasant people—sort of a “hell is other people”
scenario. None of them can leave until a
gelatinous alien intelligence in the attic has completed its study of the
nature of human kind. In fact, the whole
house is a manifestation of the alien’s powerful intellect. Insofar as a house can figuratively represent
a mind, all three films would have the seat of that mind—the brain—in the
attic.
But
what about downstairs, in the basement? Why
does Lovecraft make all of these interminable trips downstairs in his stories? There is the obvious Freudian psychosexual interpretation
of all this verbiage about tunnels and caverns and stairways, but this is trite
and simplistic. Surely Lovecraft would
consider it even vulgar. Something else
may be going on here.
From The Odyssey, Book XI of Homer: “Now as my men were on their way I said a
word to them: ‘You think you are on your
way back now to your beloved country, but Circe has indicated another journey
for us, to the house of Hades and of revered Persephone there to consult with
the soul of Teiresias the Theban.' So I
spoke, and the inward heart in them was broken.
They sat down on the ground and lamented and tore their hair out, but
there came no advantage to them for all their sorrowing.”
Odysseus
is making the hero’s journey to the underworld, a theme that occurs frequently
in mythology and classical literature. He
will go down to visit with the dead, many of whom he knows, and obtain the
knowledge only they possess. Then he
will return to life and the living, ready for future adventures. The old word for this is katabasis, from the Greek,
meaning to go down or descend, often in a supernatural context.
Odysseus
makes this journey only once. Lovecraft must make the descent again and
again and again. He does not bring anything back from the underworlds he visits,
other than the terrifying awareness of his assured destruction. Perhaps he never actually finds what he is
looking for in these perilous explorations, and so must revisit these dark
places, whether by way of a cistern in Boston, or a well somewhere west of Arkham, or some
titanic ruin in Antarctica. The secret
is still underneath him somewhere, deep in the earth, deep beneath the sea, and
so that is where he keeps looking.
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