“Roget’s Thesaurus, and a book of rhymes,
Provide
the rungs whereon his spirit climbs…”
This
is a line from H.P. Lovecraft’s The
Poe-et’s Nightmare (1918) a witty parody of inspired but untalented poetic
writing. Along with short stories like A Reminiscence of Samuel Johnson (1917) and
Ibid (1938) this lengthy poem
displays the author’s dry verbal humor and willingness to poke fun at himself. The would-be poet of The Poe-et’s Nightmare is a grocery store clerk prone to overeating
and having dreams made fantastic by indigestion and reading too much Edgar
Allan Poe.
Yet
sandwiched between the preamble and the closing lines is an early expression of
Lovecraft’s cosmicism, his perception
that earth and its human denizens are trivial and inconsequential in the midst
of a vast universe and the incomprehensible ‘powers and principalities’ that
operate across eons of time. Some of
Lovecraft’s most famous stories seem to emphasize this theme: The
Shadow Out of Time, At The Mountains
of Madness, and The Colour Out of
Space are a few examples. S.T. Joshi
coined the term cosmicism to describe an underlying unity of Lovecraft’s
“mythos” stories. But it is a key
concept that is probably applicable to many examples of classic horror and
science fiction.
There
was discussion of cosmicism in a post last August. George Allan England’s The Thing From Outside (1923) is an excellent example of a story that
dramatizes this idea. (See Cosmic Ants.)
This
philosophical notion is the gist of the poem-inside-the-poem, which Lovecraft
entitled Aletheia Phrikodes—an obscure
name. The title is accompanied by a
Latin phrase, “Omnia risus et omnia pulvis et omnia nihil.” (Joshi renders this
as ‘All is laughter, all is dust, all is nothing’). Here the tone and temperature of The Poe-et’s
Nightmare begins darken and chill precipitously. The imagery is similar to many of Lovecraft’s
later works in horror:
“Hard by, a yawning
hillside grotto breathes,
From deeps unvisited, a
dull dank air
That sears the leaves on
certain stunted trees
Which stand about,
clawing the spectral gloom
With evil boughs…”
At
this point the poem becomes what seems to be an overture to the kind of ominous
landscapes that appear in several of Lovecraft’s later stories. The dreaming grocery clerk has a vision of
primordial chaos, with familiar and unfamiliar forms mixing and dissolving in
the darkness. He describes a spreading
phosphorescence that reminds one of the climactic scene in The Colour Out of Space (1927). He feels his soul separate from his body, and
then is drawn upwards into space to experience a panoramic view of the universe.
He
encounters a presence, a voice—“In speech didactic, tho’ no voice it was, save
that it carried thought.” He is shown
aeons of time passing and experiences a cosmic, god-like view of earth, “That crude
experiment, that cosmic sport.” Mankind
is compared—not to ants as George
Allan England does—but to something even smaller, mites. The voice—a ‘he’—is
now referred to as ‘my guide celestial’, and he passes judgment on these
mites:
“That
globe of insignificance, whereon
(My
guide celestial told me) dwells no part
Of
empyrean virtue, but where breed
The
coarse corruptions of divine disease;
The
fest’ring ailments of infinity;
The
morbid matter by itself call’d man…”
Who
is this celestial guide? Why is he so
concerned to put the dreaming poet and all of mankind in their
rightful place? Why does he sound so Puritan in his condemnation of humanity’s
presumption and vanity? The cosmicism on
display has a suspiciously human personification, and reiterates traditional Calvinist
notions of the omnipotence and incomprehensibility of God, as well as the
vastness of His creation. My hunch is that
this is Lovecraft imagining himself coming face to face with You-Know-Who.
By
the end of the poem-within-a-poem, the celestial guide is referred to as a
spirit. He offers to show the poet the
ultimate truth he is seeking, but the poet screams at this point, wakes from
his nightmare, and decides against poetry as a profession. (He also swears off reading any more Edgar
Allan Poe!) The tone of The Poe-et’s Nightmare becomes light and
self-effacing again, it is daylight, and the poet returns to his workday world
relieved and wizened. In the closing
lines, Lovecraft warns other would-be poets to keep their day jobs, or risk
having similar nightmares.
Though
not great poetry, The Poe-et’s Nightmare
is another example of Lovecraft’s cleverness with rhyme. There is a warmth, humor and affection that
is not so easy to find in his fictional work.
His willingness to poke fun at himself—the poem is obviously
self-reflective—is appealing and humanizing. It is too bad that he did not do more of this.
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