In the early 1930s, Clark Ashton Smith wrote a series of closely related stories set in a richly imagined medieval setting, where Christendom shares an uneasy co-existence with pagan sorcery and Satanism. The Holiness of Azédarac is one of these, originally published in the November 1933 issue of Weird Tales. Smith’s typical preoccupation with near universal corruption and decadence clouds any clear demarcation between the Christian good guys—usually monks of the Benedictine order—and the pagan bad guys. He avoids taking any side in the struggle between such differing world views, and heroes can emerge from either corner.
It is
interesting to compare The Holiness of
Azédarac with The Beast of Averoigne,
published earlier in the same year, (See also 4.
And Finally, a Pestilent Extraterrestrial Snak...). In a sense,
both stories have happy, though unexpected resolutions. However, the reader is left with a sense that
neither good nor evil have triumphed in the end. This unresolved tension makes these stories
memorable and haunting.
Other
stories in the “Averoigne” cycle include A
Rendezvous in Averoigne (1931), The
Maker of Gargoyles (1932), The
Colossus of Ylourgne (1933) and The
Disinterment of Venus (1934). In
all, there are about 11 of these stories, and most were published in Weird Tales.
The Holiness of Azédarac is an intentionally ironic title,
because Azédarac is anything but holy.
Nominally the Bishop of Ximes, he is in fact a sorcerer, and very
knowledgeable of the Old Ones and their ways.
It is the Book of Eibon that
he is most likely to consult, rather than the Old or New Testaments, and it
seems very probable that his expertise in occult matters helped him advance in the
church hierarchy.
It is
amusing to spot the Lovecraftian references in this story. Azédarac swears “By the ram with a Thousand
Ewes”—not to be confused with Shub-Niggurath, the Goat with a Thousand Young. Traditional members of the Cthulhu Mythos have
francophonized names: Iog-Sotôt
(Yog-Sothoth), Sodagui (Tsathoggua), and so forth.
The
pious Brother Ambrose discovers the truth about Azédarac, and takes the Book of Eibon with him to present as
evidence to his uncle, Archbishop Clement of Yvones. Eager to protect his position, Azédarac sends
his henchman to intercept Ambrose. An
early Machiavellian, Azédarac at one point explains:
“It
is regrettable…that any question of my holiness and devotional probity should
have been raised among the clergy of Averoigne…the chief difference between myself
and many other ecclesiastics is, that I serve the Devil wittingly and of my own
free will, while they do the same in sanctimonious blindness.”
Through
subterfuge, the henchman is to get Ambrose to drink a special potion that he
has created, using an ancient formula—and he succeeds in this task.
The
potion is not a poison, but a substance that can send its imbiber backward in
time. This is an idea that shows up in
other stories by Smith and some of his colleagues. For example, one of Frank Belknap Long’s
characters experiments with a drug called Liao in The Hounds of Tindalos (1929), achieving even more drastic results
than Azédarac. In Smith’s The Chain of Aforgoman (1935), an author
takes a drug called souvara that
takes him back to his previous incarnations, causing him to spontaneously
combust in the present. In H.P. Lovecraft’s
Hypnos (1923), two men use exotic drugs
to explore the nature of reality. Though
not specifically referenced, some time travel is implied in their hallucinatory
experiences.
After
drinking Azédarac’s potion, Brother Ambrose travels back to the time of the
Druids, materializing on one of their sacrificial altars. He is about to have his heart ceremonially
removed by a Druid priest when he is rescued by a beautiful enchantress
Moriamis. She also knows the formula for
the time travel potions, and is actually a spurned lover of Azédarac. Will she help Brother Ambrose get back to the
future in time to thwart the evil Azédarac?
But it turns out that Azédarac and Brother Ambrose are not the only ones
with a plan…
The Holiness of Azédarac is a pleasure to read—several of
Smith’s Averoigne stories are—for its surprising ending, clever word play, and
vivid detailed setting.
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