“All
men have heard the fame of Avyctes, the sole surviving pupil of that Malygris
who tyrannized in his necromancy over Susran…who lay dead for years while men
believed him living; who, lying thus, still uttered potent spells and dire
oracles with decaying lips.”
The
small cycle of stories that feature Malygris are set in Susran, the capitol
city of Poseidonis. This fantastic and decadent
country is Smith’s version of Atlantis.
Both The Last Incantation, and
The Death of Malygris are very short
stories, and really seem more like prose poems. However, the latter contains much more of a
narrative, with some suspense near the end, as a group of conspirators presumes
to declare the evil magician—to paraphrase the munchkin undertaker—“not only
merely dead, he’s really most sincerely dead.” Both are a pleasure to read for their richly
imagined setting and well wrought, lyrical sentences. Here is an example from The Last Incantation:
“About
him were the scattered all the appurtenances of his art; the skulls of men and
monsters; phials filled with black or amber liquids, whose sacrilegious use was
known to none but himself; little drums of vulture-skin, and crotali made from the
bones and teeth of the cockodrill, used as an accompaniment to certain incantations.”
The Last Incantation was originally published in the June
1930 issue of Weird Tales, along with
a Solomon Kane Story by Robert E. Howard, (The
Moon of Skulls), and H.P. Lovecraft’s gustatory delight, The Rats in the Walls. (The
Death of Malygris was also published in Weird
Tales, several years later.)
Despite
the trappings of dark fantasy, the tone of the story is not one of horror or
anxiety, but of sadness and regret.
Malygris consults with his familiar, a demonian viper, regarding the
wisdom of revisiting the past, in particular, to see his beloved Nylissa, a
young woman he loved before becoming a necromancer, long ago. He wants to resurrect his dead love, and gaze
upon her in the fading light of an autumn afternoon. The serpent is wisely noncommittal, neither
condoning nor opposing this plan.
Malygris uses his magic to bring about this experience of being with his
beloved again, but the event is a very painful one. “I
have learned nothing except the vanity of wisdom…” he says, nearly paraphrasing
Ecclesiastes.
The
demonian viper appears again in the later story, and is in fact the last thing
moving at the end of The Death of
Malygris. In his gliding movements
he seems to represent the eternal attraction of evil, idolatry and decadence,
moving ahead through time and distance.
Surely this viper, or a close relative, appears a bit later on in
history, in the vicinity of Eden.
********************
The
Eldritch Dark is a site devoted to the appreciation of Clark Ashton Smith’s
work and is well worth a visit. http://www.eldritchdark.com/
I have just read "The Death of Malygris," and to be quite honest (maybe I missed a detail), I am uncertain as to whether the curse upon the interlopers was pronounced by semi-undead Malygris or by his demonic familiar. Any thoughts on that? I plan to create a blog dedicated to liches, and if the curse was indeed invoked by Malygris, it would be of interest for my little research.
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