UBBO-SATHLA
“For Ubbo-Sathla is the source and the end. Before the coming of Zhothaqquah or Yok-Zothoth or Kthulhut from the stars, Ubbo-Sathla dwelt in the steaming fens of the newmade Earth.”
So begins this beguiling tale of metaphysical investigation told in arcane language by Clark Ashton Smith, an author for whom fiction was as a way to explore the big philosophical questions: Where do we come from? What is the foundation of life? Why are we here? Where are we going?
Again, these questions are asked in the most inscrutable language, for as the author himself explains: "My own conscious ideal has been to delude the reader into accepting an impossibility, or series of impossibilities, by means of a sort of verbal black magic, in the achievement of which I make use of prose-rhythm, metaphor, simile, tone-color, counter-point, and other stylistic resources, like a sort of incantation.”
Similar to young men entering antique shops filled with curios from around the globe (Honoré de Balzac’s The Magic Skin and Théophile Gautier's The Mummy’s Foot come immediately to mind), the tale's protagonist, Paul Tregardis, enters an antique shop and his eye is drawn to something in particular: “the milky crystal in a litter of oddments from many lands and eras.”
And, oh, how that magically enchanted, arcane object quickly becomes the nucleus of occult unfoldings. "Tregardis thinks of his own explorations in hidden lore: he recalled The Book of Eibon, that strangest and rarest of occult forgotten volumes, which is said to have come down through a series of manifold translations from a prehistoric original written in the lost language of Hyperborea."
After leaving the shop, crystal in hand, little does Tregardis know he now holds an enchanted object that will bring the book of his very own memories to life.
As per vintage Clark Ashton Smith, that aforementioned remote, secret book, The Book of Eibon, was purported to have been the handiwork of a great wizard in touch with the heart of the heart of all power within the universe. "This wizard, who was mighty among sorcerers, had found a cloudy stone, orb-like and somewhat flattened at the ends, in which he could behold many visions of the terrene past, even to the Earth's beginning, when Ubbo-Sathla, the unbegotten source, lay vast and swollen and yeasty amid the vaporing slime. . . But of that which he beheld, Zon Mezzamalech left little record; and people say that he vanished presently, in a way that is not known; and after him the cloudy crystal was lost."
With a wizard and sorcery added to the equation, our narrator is in for unexpected twists to his adventures.
The more our young narrator peers into his newly purchased crystal, the more all of the normal boundaries of time and space expand and take on strange forms. “As if he looked upon an actual world, cities, forests, mountains, seas and meadows flowed beneath him, lightening and darkening as with the passage of days and nights in some weirdly accelerated stream of time.”
Is he in twentieth century London or some other past and future time? Or, as unfathomable as it might seem, two or even all three together? It is hard for poor Paul Tregardis to tell. In this and in many other Clark Ashton Smith tales, it is left to us as readers to fathom our own conclusions, as nebulous as they might be.
Paul feels something very strange, as if he is under the influence of hashish. The walls begin to wobble as if they are made of smoke; all the men and women in the streets begin to appear as so many ghosts and shades; the whole scene takes on the cast of a vast phantasm.
Is Paul dreaming or hallucinating? Could be. But many the time in a Clark Ashton Smith tale, a dream or vision quickly slides into an unending nightmare. Recall the author mined his own nightmares during protracted illnesses to fuel his fantasies and tales of horror.
In such a nightmare, what other evil or unforeseen event can happen? Answer: for Clark Ashton Smith, a character’s very identity can shift and change not only once but multiple times. “He seemed to live unnumbered lives, to die myriad deaths, forgetting each time the death and life that had gone before. He fought as a warrior in half-legendary battles; he was a child playing in the ruins of some olden city of Mhu Thulan; he was the king who had reigned when the city was in its prime, the prophet who had foretold its building and its doom. He became a barbarian of some troglodytic tribe, fleeing from the slow, turreted ice of a former glacial age into lands illumed by the ruddy flare of perpetual volcanoes. Then, after incomputable years, he was no longer man, but a man-like beast, roving in forests of giant fern and calamite, or building an uncouth nest in the boughs of mighty cycads."
Clark Ashton Smith, such an imagination, such psychedelic, phantasmagorical visions - not only can a man or woman, plant or beast change, the entire universe can compress itself into a grey, formless mass of slime with the name Ubbo-Sathla.
Comments
Post a Comment