| "The Festival" | |
|---|---|
| Short story by H. P. Lovecraft | |
 | |
 Text available at Wikisource | |
| Country | United States |
| Language | English |
| Publication | |
| Published in | Weird Tales |
| Publication type | Periodical |
| Media type | Print (Magazine) |
| Publication date | January 1925 |
"The Festival" is a short story by H. P. Lovecraft written in October 1923 and published in the January 1925 issue of Weird Tales .
The story was inspired by Lovecraft's first trip to Marblehead, Massachusetts, in December 1922. Lovecraft later called that visit "the most powerful single emotional climax experienced during my nearly forty years of existence." [1]
In a flash all the past of New England—all the past of Old England—all the past of Anglo-Saxondom and the Western World—swept over me and identified me with the stupendous totality of all things in such a way as it never did before and never did again. That was the high tide of my life. [1] [2]
The narrator's path through Kingsport corresponds to a route to the center of Marblehead; the house with the overhanging second story is probably based on Marblehead's 1 Mugford Street. The church in the story is St. Michael's Episcopal Church on Frog Lane. Built in 1714, it is the oldest Anglican church in New England that is still standing at its original site. The church is on a modest hill; for most of the 18th century, it had a steeple. Its crypt, where parishioners were interred, remains. Since Lovecraft visited the church (as evidenced by his signature in the guest register), he may have spoken with the rector and learned such details about the church.
Lovecraft was also influenced by two books he had recently read:
In intimating an alien race I had in mind the survival of some clan of pre-Aryan sorcerers who preserved primitive rites like those of the witch-cult—I had just been reading Margaret Murray's The Witch-Cult in Western Europe ." [3]
Hence, he describes the narrator's folk as:
an old people, and… strange, because they had come as dark furtive folk from opiate southern gardens of orchids, and spoken another tongue before they learnt the tongue of the blue-eyed fishers." [4]
The idea of "pre-Aryan" survivals was the basis of "The Novel of the Black Seal", a story in Arthur Machen's 1895 novel The Three Impostors . This story, too, had impressed Lovecraft when he read it not long before writing "The Festival"; [2] it influenced the development of some of his later stories, including "The Call of Cthulhu" (written in 1926), "The Dunwich Horror" (written in 1928), and The Whisperer in Darkness (written in 1930).
"It was the Yuletide," the story begins, "that men call Christmas though they know in their hearts it is older than Bethlehem and Babylon, older than Memphis and mankind." An unnamed narrator is making his first visit to Kingsport, Massachusetts, an "ancient sea town where my people had dwelt and kept festival in the elder time when festival was forbidden; where also they had commanded their sons to keep festival once every century, that the memory of primal secrets might not be forgotten."
The town he comes to, which shows little sign of habitation, seems centuries out of date
… with its ancient vanes and steeples, ridgepoles and chimney-pots, wharves and small bridges, willow-trees and graveyards; endless labyrinths of steep, narrow, crooked streets, and dizzy church-crowned central peak that time durst not touch; ceaseless mazes of colonial houses piled and scattered at all angles and levels like a child's disordered blocks; antiquity hovering on grey wings over winter-whitened gables and gambrel roofs; fanlights and small-paned windows one by one gleaming out in the cold dusk…
He locates his relatives' house, which has an overhanging second story, and is greeted by an unspeaking old man with "flabby hands, curiously gloved," and a "bland face" that he comes to suspect is "a fiendishly cunning mask". This mysterious greeter directs him to wait next to a pile of old books that includes a Latin translation of the Necronomicon , wherein he discovers "a thought and a legend too hideous for sanity or consciousness." At the stroke of 11, he is led outside to join a "throng of cowled, cloaked figures that poured silently from every doorway", heading to the "top of a high hill in the centre of the town, where perched a great white church." He follows the silent crowd, "jostled by elbows that seemed preternaturally soft, and pressed by chests and stomachs that seemed abnormally pulpy", into the church.
The procession enters a secret passageway below the crypt, eventually coming to "a vast fungous shore litten by a belching column of sick greenish flame and washed by a wide oily river that flowed from abysses frightful and unsuspected to join the blackest gulfs of immemorial ocean." There, they engage in a "Yule-rite, older than man and fated to survive him", while "something [is] amorphously squatted far away from the light, piping noisomely on a flute". The flute-playing summons
a horde of tame, trained, hybrid winged things that no sound eye could ever wholly grasp, or sound brain ever wholly remember. They were not altogether crows, nor moles, nor buzzards, nor ants, nor vampire bats, nor decomposed human beings; but something I cannot and must not recall. They flopped limply along, half with their webbed feet and half with their membranous wings; and as they reached the throng of celebrants the cowled figures seized and mounted them, and rode off one by one along the reaches of that unlighted river, into pits and galleries of panic where poison springs feed frightful and undiscoverable cataracts.
The narrator resists joining this expedition, even when his guide points out the family resemblance on his mask-like face, and shows him a watch with his family's arms that he recognizes as having "been buried with my great-great-great-great-grandfather in 1698." When a sudden effort to control one of the mounts "dislodged the waxen mask from what should have been his head", the narrator throws himself into the river "before the madness of my screams could bring down upon me all the charnel legions these pest-gulfs might conceal."
He awakens in a Kingsport hospital, where he looks out to find a much more modern town, and is told that he was rescued from Kingsport Harbour after footprints revealed he walked off a cliff. Agitated to learn that he is near Kingsport's old churchyard, he is transferred to St. Mary's Hospital in nearby Arkham, where he is allowed to read a copy of the Necronomicon and find the passage that so disturbed him at his ancestral house; he dares quote only one paragraph of it:
The nethermost caverns...are not for the fathoming of eyes that see; for their marvels are strange and terrific. Cursed the ground where dead thoughts live new and oddly bodied, and evil the mind that is held by no head. Wisely did Ibn Schacabao say, that happy is the tomb where no wizard hath lain, and happy the town at night whose wizards are all ashes. For it is of old rumour that the soul of the devil-bought hastes not from his charnel clay, but fats and instructs the very worm that gnaws; till out of corruption horrid life springs, and the dull scavengers of earth wax crafty to vex it and swell monstrous to plague it. Great holes secretly are digged where earth's pores ought to suffice, and things have learnt to walk that ought to crawl.
Lovecraft himself did not think much of the story. Even so, Clark Ashton Smith, in a letter to Lovecraft dated October 1933, wrote: "In spite of your disparagement, 'The Festival' holds its place in my affections, and has an imaginative quality that puts it above the new stories in the current W.T." [5] S. T. Joshi described "The Festival" as a story "of considerable interest", and stated "the story can be considered a virtual three-thousand-word prose-poem for the sustained modulation of its prose". [6]
Lin Carter, author of Lovecraft: A Look Behind the Cthulhu Mythos , calls "The Festival" "the first Mythos story to use witch-haunted Kingsport as a setting", and also credits it with advancing the lore of the Necronomicon , saying that it is "the first tale to give a lengthy quote from the imaginary book and to tell us something about its history (i.e., that Olaus Wormius translated it into Latin)." [7] S.T. Joshi cites "The Unnamable," written a month before "The Festival," as the first story to use Arkham as a setting, but "The Festival" clearly has closer connections to the mythos than "The Unnamable." [8]
The Case of Charles Dexter Ward (1927) mentions "the exposure of nameless rites at the strange little fishing village of Kingsport, in the province of the Massachusetts-Bay," an apparent reference to "The Festival".
The motif of a character's nonhuman identity being concealed by a mask is used again by Lovecraft in "The Whisperer in Darkness", The Dream-Quest of Unknown Kadath , and "Through the Gates of the Silver Key".
It is suggested by enthusiasts of the Cthulhu Mythos that the short story features the first appearance of the byakhees, the winged creatures mentioned. They would be later included in August Derleth's tale "The House on Curwen Street".
The fragment of Necronomicon cited in "The Festival" served as inspiration for one of the major plots of Brian Lumley's Titus Crow novel The Burrowers Beneath, in which it is quoted.
"The Festival", "The Picture in the House" (1921), and "The Dunwich Horror" (1929) were adapted into short claymation films. These were released in the DVD-Video collection H. P. Lovecraft's The Dunwich Horror and Other Stories (H・P・ラヴクラフトのダニッチ・ホラー その他の物語, Ecchi Pī Ravukurafuto no Danicchi Horā Sonota no Monogatari) by Toei Animation in August 2007. [9] [10]
The Cthulhu Mythos is a mythopoeia and a shared fictional universe, originating in the works of Anglo-American horror writer H. P. Lovecraft. The term was coined by August Derleth, a contemporary correspondent and protégé of Lovecraft, to identify the settings, tropes, and lore that were employed by Lovecraft and his literary successors. The name "Cthulhu" derives from the central creature in Lovecraft's seminal short story "The Call of Cthulhu", first published in the pulp magazine Weird Tales in 1928.
The Necronomicon, also referred to as the Book of the Dead, or under a purported original Arabic title of Kitab al-Azif, is a fictional grimoire appearing in stories by the horror writer H. P. Lovecraft and his followers. It was first mentioned in Lovecraft's 1924 short story "The Hound", written in 1922, though its purported author, the "Mad Arab" Abdul Alhazred, had been quoted a year earlier in Lovecraft's "The Nameless City". Among other things, the work contains an account of the Old Ones, their history, and the means for summoning them.
Cthulhu is a fictional cosmic entity created by writer H. P. Lovecraft. It was introduced in his short story "The Call of Cthulhu", published by the American pulp magazine Weird Tales in 1928. Considered a Great Old One within the pantheon of Lovecraftian cosmic entities, this creature has since been featured in numerous pop culture references. Lovecraft depicts it as a gigantic entity worshipped by cultists, in the shape of a green octopus, dragon, and a caricature of human form. The Lovecraft-inspired universe, the Cthulhu Mythos, where it exists with its fellow entities, is named after it.
Shub-Niggurath is a deity created by H. P. Lovecraft. She is often associated with the phrase "The Black Goat of the Woods with a Thousand Young". The only other name by which Lovecraft referred to her was "Lord of the Wood" in his story The Whisperer in Darkness.
Arkham is a fictional city situated in Massachusetts, United States. An integral part of the Lovecraft Country setting created by H. P. Lovecraft, Arkham is featured in many of his stories and those of other Cthulhu Mythos writers.
"The Call of Cthulhu" is a short story by American writer H. P. Lovecraft. Written in the summer of 1926, it was first published in the pulp magazine Weird Tales in February 1928.
Azathoth is a deity in the Cthulhu Mythos and Dream Cycle stories of writer H. P. Lovecraft and other authors. He is the supreme deity of the Cthulu Mythos and the ruler of the Outer Gods, and may also be seen as a symbol for primordial chaos, therefore being the most powerful entity in the entirety of the Cthulhu Mythos.
Randolph Carter is a recurring fictional character created by H. P. Lovecraft. The character first appears in "The Statement of Randolph Carter", a short story Lovecraft wrote in 1919 based on one of his dreams. An American magazine called The Vagrant published the story in May 1920. Carter appears in seven stories written or co-written by Lovecraft, and has since appeared in stories by other authors.
The Shadow over Innsmouth is a horror novella by American author H. P. Lovecraft, written in November–December 1931. It forms part of the Cthulhu Mythos, using its motif of a malign undersea civilization, and references several shared elements of the Mythos, including place-names, mythical creatures, and invocations. The Shadow over Innsmouth is the only Lovecraft story that was published in book form during his lifetime.
"The Nameless City" is a short horror story written by American writer H. P. Lovecraft in January 1921 and first published in the November 1921 issue of the amateur press journal The Wolverine. It is often considered the first story set in the Cthulhu Mythos world. In the story, the protagonist travels to the middle of the Arabian Desert to explore an ancient underground city.
"The Dunwich Horror" is a horror novella by American writer H. P. Lovecraft. Written in 1928, it was first published in the April 1929 issue of Weird Tales (pp. 481–508). It takes place in Dunwich, a fictional town in Massachusetts. It is considered one of the core stories of the Cthulhu Mythos.
"The Haunter of the Dark" is a horror short story by American author H. P. Lovecraft, written between 5–9 November 1935 and published in the December 1936 edition of Weird Tales. It was the last written of the author's known stories and is part of the Cthulhu Mythos. The epigraph to the story is the second stanza of Lovecraft's 1917 poem "Nemesis".
Lovecraft Country is a term coined for the New England setting used by H. P. Lovecraft in many of his weird fiction stories, which combines real and fictitious locations. This setting has been elaborated on by other writers working in the Cthulhu Mythos. The phrase was not in use during Lovecraft's own lifetime; it was coined by Keith Herber for the Lovecraftian role-playing game Call of Cthulhu.
The Whisperer in Darkness is a 26,000-word novella by American writer H. P. Lovecraft. Written February–September 1930, it was first published in Weird Tales, August 1931. Similar to The Colour Out of Space (1927), it is a blend of horror and science fiction. Although it makes numerous references to the Cthulhu Mythos, the story is not a central part of the mythos, but reflects a shift in Lovecraft's writing at this time towards science fiction. The story also introduces the Mi-Go, an extraterrestrial race of fungoid creatures.
"The Rats in the Walls" is a short story by American author H. P. Lovecraft. Written in August–September 1923, it was first published in Weird Tales, March 1924.
"The Picture in the House" is a short story written by H. P. Lovecraft. It was written on December 12, 1920, and first published in the July issue of The National Amateur—which was published in the summer of 1921. It was reprinted in Weird Tales in 1923 and again in 1937.
Lovecraft: A Look Behind the "Cthulhu Mythos" is a 1972 non-fiction book written by Lin Carter, published by Ballantine Books. The introduction notes that the book "does not purport to be a biography of H. P. Lovecraft", and instead presents it as "a history of the growth of the so-called Cthulhu Mythos."
The Mask of Cthulhu is a collection of fantasy and horror short stories by American writer August Derleth. It was released in 1958 by Arkham House in an edition of 2,051 copies.
The Inhabitant of the Lake and Less Welcome Tenants is a collection of fantasy and horror short stories by British author J. Ramsey Campbell, who dropped the initial from his name in subsequent publications. It was released in 1964 by Arkham House in an edition of 2,009 copies and was the author's first book. The stories are part of the Cthulhu Mythos. Campbell had originally written his introduction to be included in the book The Dark Brotherhood and Other Pieces under the title "Cthulhu in Britain". However, Arkham's editor, August Derleth, decided to use it here.
"Black Man with a Horn" is a horror novella by American writer T. E. D. Klein. It is a part of the Cthulhu Mythos cycle, and was originally published in New Tales of the Cthulhu Mythos. Critic S. T. Joshi notes that the story demonstrates a "deftness of style, a subtlety in the build-up of a horrific climax, and a deep understanding of the psychological effects of horror."
Works related to The Festival at Wikisource| National | |
|---|---|
| Other | |
