Tsathoggua
is a minor deity in the pantheon of “old ones” created by H.P Lovecraft and his
colleagues. There is reference to him in
Lovecraft’s The Shadow Out of Time (1936). The narrator, Nathaniel Wingate Peaslee,
rattles off a list of earthly minds that have been captured by the Great Race
for study, including “three from the furry prehuman Hyperborean worshippers of Tsathoggua…”
The
entity is also mentioned in Lovecraft’s The
Whisperer in Darkness (1931), which is his first appearance in a published
story. The doomed Henry Akeley, who is under
the surveillance of a nearby colony of aliens, tells that narrator in a letter
that “I found myself faced by names and terms that I had heard elsewhere in the
most hideous of connections—Yuggoth, Great Cthulhu, Tsathoggua, Yog-Sothoth,
R’lyeh, Nyarlathotep, Azatoth…” In my
view, this is one of Lovecraft’s strongest attempts at science fiction.
Two
other stories by Lovecraft that cite the loathsome Tsathoggua include At the Mountains of Madness (1936), and
his collaboration with Hazel Heald, The
Horror in the Museum (1932). In the
latter story, “Black Tsathoggua moulded itself from a toad-like gargoyle to a
long, sinuous line with hundreds of rudimentary feet…”—which suspiciously resembles
a description of Tsathoggua in one of Clark Ashton Smith’s stories, discussed
below. In At the Mountains of Madness, the narrator speculates that “the
devotees of Tsathoggua were as alien to mankind as Tsathoggua itself.”
In a
letter to Helen Sully, who was feeling “hopeless, useless, incompetent &
generally miserable”, Lovecraft offered some empathy, commiseration, and this
admonition: “So…for Tsathoggua’s sake,
cheer up!”
Robert
E. Howard’s The Black Stone (1931)
seems to contain a reference to the batrachian deity. (See also Bibliographies of Doom ) A “huge monstrous toad like thing” appears on top of the monolith in
the gruesome climax of the story. Though
not named, the creature seems to match the description of Tsathoggua. The fact that several of these stories were
published by various authors within a year or two of each other suggests some
kind of sharing or collaboration, an outbreak of Tsathogguaism circa 1931.
Tsathoggua
appears as one of several supernatural entities early in Clark Ashton Smith’s The Seven Geases (1933). In that story, the aggrieved wizard Ezdagor
says, “You shall know Tsathoggua by his great girth and his batlike furriness
and the look of a sleepy black toad…He will rise not from his place, even in
the ravening of hunger, but will wait in divine slothfulness for the sacrifice.” (See Geas Who Is Coming to Dinner.)
The depiction
of Tsathoggua had changed in interesting ways since his initial appearance in
an earlier work, Smith’s The Tale of
Satampra Zeiros. The story was
originally written in 1929, but published in Weird Tales in 1931.
(Lovecraft’s The Whisperer in
Darkness came out in August of that year; Smith’s in November.)
The story establishes Clark Ashton
Smith as the original creator of Tsathoggua.
In
diction and style, The Tale of Satampra
Zeiros will remind some readers of stories by Lord Dunsany, for example The Hoard of the Gibbelins (1912) and How Nuth Would Have Practised His Art Upon the
Gnoles (1912). The story concerns
two thieves who in a moment of grandiosity decide to raid an ancient basaltic stone
temple of its jewels and antiquities—in the dead of night. There are clever euphemisms and innuendos
scattered throughout the early part of the story: “…the fact that we had no funds for our
journey was of small moment, for, unless our former dexterity had altogether
failed us, we could levy a modicum of involuntary tribute from the guileless
folk of the country-side.”
But the
tone of the story darkens precipitously as the two begin their journey through
a dark forest to arrive at an ancient, abandoned city. To create dis-ease and intensifying fear, Smith
makes effective use of details about the flora and fauna the men encounter. Their eventual altercation with Tsathoggua
changes the adventure story into a nightmare.
As in many of Smith’s stories, a grisly detail mentioned at the very
beginning of the story returns to view full circle at the end—a very effective device. The
Tale of Satampra Zeiros in my view is one of the more effective “mythos”
stories and is recommended reading.
(Tsathoggua
also appears more extensively in the Pnakotic
Manuscripts and the Necronomicon,
but these resources are not as readily available.)
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