“I will put enmity between you and the woman, and between your offspring and her offspring: he shall bruise your head, and you shall bruise his heel.” (Genesis 3:15)
Many of
us are fearful of snakes, even relatively harmless ones. They share our vertebrate heritage, but lack
the cardinal four limbs that mark them as “family”. We may share our home with a cat or a dog or
even a rodent—any creature that vaguely resembles our young. But usually not a snake, unless the owner is
making a statement about his or her mental health.
Lacking
arms and hands, the serpent’s feeding habits are necessarily indelicate. Even its manner of obtaining food is
grotesque. Either it paralyzes its prey
with a toxic bite, or sneaks up and asphyxiates the unlucky creature, literally
crushing the life out of its victim. To
be fair, a snake is basically just a head with a long tail trailing behind it,
and little else. Table manners are
awkward and frustrating.
Have
I mentioned that a snake is able to slide seamlessly out of its own skin, and
leave this ghastly relic behind to mark its passing?
Even
among fellow reptiles snakes stand—or rather—slither—apart. Turtles are humorous because of their ridiculous
anatomy. Alligators are threatening, yet
picturesque. Lizards are just ugly birds,
wingless and featherless, that dash about on four feet. All of these critters are familiar, if
distant relatives—except for Serpentes.
Yet snakes
frequently appear in ancient religious texts, in timeless stone ruins, in
mythology, and in our nightmares. One
such nightmare is depicted in Robert E. Howard’s The Dream Snake, a story he published in the February issue of Weird Tales in 1928. His story appeared along with H.P. Lovecraft’s
The Call of Cthulhu, among others. Robert E. Howard went on to create his famous
character of ‘Conan the Barbarian’, who was featured in many of his stories
from the early 1930s on.
In The Dream Snake, several friends are
sitting on a porch at night, watching a full moon rise over some
mountains. A breeze begins to blow,
which ruffles the long, uncut grass and makes it undulate in “long sinuous
waves.” The sight of this startles and frightens one of the friends, a man
named Faming. Clearly it reminds him of
something, and his reaction is intense and conspicuous. Fearing his friends will think he is crazy,
Faming proceeds to explain to them the reason for his odd behavior.
The
narrative takes the form of a campfire story: the listeners are outside in the dark,
there is a full moon, and there is a mystery to unfold—but the teller does not
intend to finish with a prank or practical joke. He is really describing his impending doom.
Faming
has been having recurrent nightmares since a very young age. The dream is always the same, except for
incremental changes near the end of it.
He dreams that he is somewhere in Africa, climbing a hill up to a little
bungalow. He observes an unusual and
irregular path in the grass, as if it had been crushed by the dragging of an
immense weight across it. He carries a
rifle, but it is broken and useless. He
has a sense that he and his Hindoo servant are both fugitives; the dream
contains an element of guilt or retribution.
The sun is going down and will soon set.
The
narrator is struck by the clarity of the dream and how closely it resembles
reality. Howard pauses a moment to offer
his thoughts on dreams, a view very similar to Lovecraft’s: “I tell you it is so vivid, so complete in
every detail, that I wonder sometimes if that is not my real existence and this
is a dream!”
Inside
the bungalow he finds that his Hindoo servant is missing and that the house is
in disarray. Furniture has been knocked
over and broken. He quickly connects the
chaos inside with the wide sinuous path outside, and realizes it is the work of
a giant serpent. He cannot flee because it is too dark, so he swiftly secures
the doors and windows and waits. He can
hear the sliding of the beast through the grass outside, and is panicked when the
hinges of the door creak as the monster pushes against it. He keeps the lights on.
We
have all experienced this scene in countless stories, movies and TV shows: people
barricaded inside some makeshift shelter while a marauding predator is just
outside the door seeking entrance. It is
almost always effective because it touches a primal nerve—that part of our
brain built for “flight” as opposed to “fight”.
Though he never actually sees the snake up close, Faming is certain he
will lose his mind if he does.
Dawn
eventually comes, and Faming is able to escape the bungalow, and run towards
the coast. All day in the light he runs
frantically until the sun sets again. But
looking behind him, across a moonlit grassy veldt, he can just see the grass
sway as the serpent pursues him in the distance. And then he wakes up. But each night, “the thing has been getting
closer—closer…” The men all go to bed at
this point, but no one sleeps well, least of all Faming.
Howard’s
story effectively captures the tone and rhythm of a nightmare, and the horror
is ably foreshadowed even in the first few paragraphs. Some may be tempted to apply some sort of
Freudian analysis to the imagery of this dream story, or perhaps talk about Jungian
archetypes involving serpents and what they signify. In my view, Howard is affecting his readers
on a much more basic level: fear and self preservation in the face of a large
predator. It may be that ‘the oldest and
strongest kind of fear’ is not ‘fear
of the unknown’, as Lovecraft has said. The oldest and strongest kind of fear—for any
creature—is fear of being eaten.
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