Exotic and unpronounceable place and character names mark The Dark Eidolon as a tale inspired by the early work of Lord Dunsany. Originally published in 1935, this is one of Clark Ashton Smith’s longer and more ambitious short stories. The Dark Eidolon is fascinating on many levels: it is linked to at least one other story of Smith’s (The Isle of the Torturers), cleverly transmutes Biblical themes into an alternate and evil universe, is vividly imaginative, and contains Smith’s trademark symmetry and circular plot structure.
Readers
will want to have on hand their copy of Dictionary
of Obscure and Archaic Words—not a real book, but much needed!—in order to
decode such terminology as, well, Eidolon,
not to mention odalisques, lemans,
aludels, athaners, and cachinnations. There
is a whole lot of cachinnating going on in The
Dark Eidolon. However, the unusual
vocabulary enhances the strangeness of Smith’s story and does not detract from
the pleasure of reading it.
The Dark Eidolon is set in the far distant future,
where humanity dwells on Zothique, the last continent, beneath an aging
reddened sun. Society has
regressed: there are enormous
discrepancies of wealth, the various gods of paganism are in vogue, and the
government is a cruel despotism. Everyone is evil and decadent. This decrepit world is reminiscent of that in
Smith’s earlier story The Planet of the Dead
(1932)—see also H.P.
Lovecraft’s Antarian Adventures .
For
those readers familiar with the books of the Old Testament, the society
depicted here resembles the chaotic period in Judges before the arrival of the
prophet Samuel, when “everyone did what was right in his own eyes.” It is a world in decline, filled with
citizens who have incurred considerable wrath.
Can it get any worse? Of course
it can.
Narthos,
a poor beggar boy, is cruelly trampled by the horse of prince Zotulla. He survives this ordeal, but is maimed and
left with a lingering hatred of the royal household. He leaves the city for the desert, where he
finds enlightenment and training as an apprentice to the wizard Ouphaloc. In another clever riff on religious
tradition, Narthos—now the sorcerer Namirrha—does not return to society like a Saint Anthony, a “desert father”, filled
with religious insight and compassion. Instead,
he has a score to settle with his childhood tormenter, who is now the
tyrannical King Zotulla. He has planned
a series of increasingly grotesque torments for the monarch.
But
there is a whole lot more to The Dark
Eidolon than supernatural vengeance.
A hellish society that is bound for hell is in need of either
redemption, or at least, and more likely, destruction. Can justice be found in a society where all
its members are evil to the core?
The most
remarkable character in The Dark Eidolon is
an entity called Thasaidon, “lord of Evil”, an avatar of Satan. It is ironically Thasaidon who cautions
Namirrha against going too far with his plans.
In the middle of the story, Thasaidon offers a rather undevilish sermon about justice,
forgiveness, fate, (“…for the ways of destiny are strange, and the workings of
its laws are sometimes hidden…”), and self-restraint. All for naught; in such a decadent society,
people do not even listen to their demons, let alone their gods.
The hallucinogenic
horrors in Namirrha’s dark castle are entertaining in themselves. They are great source material for numerous
horror movie vignettes. The apocalyptic ending
contains clear allusions to the New Testament book of Revelation, and is
satisfying and unanticipated. The Dark Eidolon is recommended as an
example of what a skilled author can do with themes of societal decay,
vengeance and the nature of evil.
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