An H. P. Lovecraft Encyclopedia

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C

C———, Antoine, Comte de.

In “The Alchemist,” the last of a long line of comtes, each of whom suffers a mysterious death prior to the age of thirty-two—the age of Henri, Comte de C———, when, in the thirteenth century, he blamed Michel Mauvais, a wizard residing on his estates, for the disappearance of his son Godfrey. Later Godfrey is found alive, but in the meantime Henri has killed Michel. Michel’s son, Charles Le Sorcier, pronounces a curse that appears to affect all the Comtes de C———, including Godfrey’s son Robert and Robert’s son Louis.

“Call of Cthulhu, The.”

Short story (12,000 words); written probably in August or September 1926. First published in WT (February 1928); first collected in O;corrected text in DH;annotated version in An2and CC. The narrator (identified, only in the subtitle [omitted in many editions], as “the late Francis Wayland Thurston, of Boston”) gives an account of the strange facts he has assembled, both from the papers of his recently deceased granduncle, George Gammell Angell, and from personal investigation. Angell, a professor of Semitic languages at Brown University, had collected several peculiar pieces of data. First, he had taken extensive notes of the dreams and artwork of a young sculptor, Henry Anthony Wilcox, who had come to him with a bas-relief he had fashioned in his sleep on the night of March 1, 1925. The sculpture is of a hideous-looking alien entity, and Wilcox had reported that, in the dream that had inspired it, he had repeatedly heard the words “Cthulhu fhtagn.”It was this that had piqued Angell’s interest, for he had encountered these words or sounds years before, at a meeting of the American Archaeological Society, in which a police inspector from New Orleans named John Raymond Legrasse had brought in a sculpture very much like Wilcox’s and claimed that it had been worshipped in the Louisiana bayou by a degraded cult that had chanted the phrase “Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn.”One cult member translated this

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outlandish utterance thus: “In his house at R’lyeh dead Cthulhu waits dreaming.” A mestizo named Castro told Legrasse that Cthulhu was a vast being that had come from the stars when the earth was young, along with another set of entities named the Great Old Ones. He was entombed in the sunken city of R’lyeh and would emerge when the “stars were ready” to reclaim control of the earth. The cult “would always be waiting to liberate him.” Castro points out that these matters are spoken of in the Necronomiconof the mad Arab Abdul Alhazred.

Scarcely knowing what to make of this bizarre material, Thurston stumbles on a newspaper clipping telling of strange events aboard a ship in the Pacific Ocean; accompanying the article is a picture of a bas-relief very similar to those of Wilcox and Legrasse. Thurston goes to Oslo to talk with the Norwegian sailor, Gustaf Johansen, who had been on board the ship, but finds that he is dead. Johansen had, however, left an account of his experience showing that he had encountered Cthulhu when the city of R’lyeh rose from the sea-bottom as the result of an earthquake; but, presumably because the stars were not “ready,” the city sinks again, returning Cthulhu to the bottom of the ocean. But the mere existence of this titanic entity is an unending source of profound unease to Thurston because it shows how tenuous is mankind’s vaunted supremacy upon this planet. The story had been plotted a full year earlier, as recorded in HPL’s diary entry for August 12–13, 1925: “Write out story plot—‘The Call of Cthulhu.’” But the origin of the tale goes back even further, to an entry in his commonplace book (#25) that must date to late 1919 or January 1920: Man visits museum of antiquities—asks that it accept a bas-relief he hasjust made— old& learned curator laughs & says he cannot accept anything so modern. Man says that

“dreams are older than brooding Egypt or the contemplative Sphinx or garden-girdled Babylonia” & that he had fashioned the sculpture in his dreams. Curator bids him shew his product, & when he does so curator shews horror, asks who the man may be. He tells modern name. “No— before that” says curator. Man does not remember except in dreams. Then curator offers high price, but man fears he means to destroy sculpture. Asks fabulous price—curator will consult directors. ¶ Add good development & describe nature of bas-relief.