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By H. P. Lovecraft Supernatural Horror in Literature

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By H. P. Lovecraft Supernatural Horror in Literature By H. P. Lovecraft thrill of the chimney-corner whisper or the lonely wood. There is here involved a Supernatural Horror in Literature psychological pattern or tradition as real and as deeply grounded in mental experience as I. Introduction any other pattern or tradition of mankind; coeval with the religious feeling and closely The oldest and strongest emotion of related to many aspects of it, and too much a mankind is fear, and the oldest and strongest part of our inmost biological heritage to lose kind of fear is fear of the unknown. These keen potency over a very important, though facts few psychologists will dispute, and not numerically great, minority of our their admitted truth must establish for all species. time the genuineness and dignity of the weirdly horrible tale as a literary form. Against it are discharged all the shafts of a Man's first instincts and emotions formed his materialistic sophistication which clings to response to the environment in which he frequently felt emotions and external events, found himself. Definite feelings based on and of a naively insipid idealism which pleasure and pain grew up around the deprecates the aesthetic motive and calls for phenomena whose causes and effects he a didactic literature to uplift the reader understood, whilst around those which he toward a suitable degree of smirking did not understandÐand the universe optimism. But in spite of all this opposition teemed with them in the early daysÐwere the weird tale has survived, developed, and naturally woven such personifications, attained remarkable heights of perfection; marvellous interpretations, and sensations of founded as it is on a profound and awe and fear as would be hit upon by a race elementary principle whose appeal, if not having few and simple ideas and limited always universal, must necessarily be experience. The unknown, being likewise the poignant and permanent to minds of the unpredictable, became for our primitive requisite sensitiveness. forefathers a terrible and omnipotent source of boons and calamities visited upon mankind for cryptic and wholly extra- The appeal of the spectrally macabre is terrestrial reasons, and thus clearly generally narrow because it demands from belonging to spheres of existence whereof the reader a certain degree of imagination we know nothing and wherein we have no and a capacity for detachment from every- part. The phenomenon of dreaming likewise day life. Relatively few are free enough from helped to build up the notion of an unreal or the spell of the daily routine to respond to spiritual world; and in general, all the rappings from outside, and tales of ordinary conditions of savage dawn-life so strongly feelings and events, or of common conduced toward a feeling of the sentimental distortions of such feelings and supernatural, that we need not wonder at events, will always take first place in the the thoroughness with which man's very taste of the majority; rightly, perhaps, since hereditary essence has become saturated of course these ordinary matters make up with religion and superstition. That the greater part of human experience. But saturation must, as a matter of plain the sensitive are always with us, and scientific fact, be regarded as virtually sometimes a curious streak of fancy invades permanent so far as the subconscious mind an obscure corner of the very hardest head; and inner instincts are concerned; for though so that no amount of rationalisation, reform, the area of the unknown has been steadily or Freudian analysis can quite annul the contracting for thousands of years, an 1 infinite reservoir of mystery still engulfs most now and then drives writers of totally of the outer cosmos, whilst a vast residuum opposite leanings to try their hands at it in of powerful inherited associations clings isolated tales, as if to discharge from their around all the objects and processes that minds certain phantasmal shapes which were once mysterious, however well they would otherwise haunt them. Thus Dickens may now be explained. And more than this, wrote several eerie narratives; Browning, the there is an actual physiological fixation of hideous poem ªChilde Rolandº; Henry the old instincts in our nervous tissue, which James, The Turn of the Screw; Dr. Holmes, would make them obscurely operative even the subtle novel Elsie Venner; F. Marion were the conscious mind to be purged of all Crawford, ªThe Upper Berthº and a number sources of wonder. of other examples; Mrs. Charlotte Perkins Gilman, social worker, ªThe Yellow Wall Paperº; whilst the humourist W. W. Jacobs Because we remember pain and the menace produced that able melodramatic bit called of death more vividly than pleasure, and ªThe Monkey's Pawº. because our feelings toward the beneficent aspects of the unknown have from the first been captured and formalised by This type of fear-literature must not be conventional religious rituals, it has fallen to confounded with a type externally similar the lot of the darker and more maleficent but psychologically widely different; the side of cosmic mystery to figure chiefly in literature of mere physical fear and the our popular supernatural folklore. This mundanely gruesome. Such writing, to be tendency, too, is naturally enhanced by the sure, has its place, as has the conventional or fact that uncertainty and danger are always even whimsical or humorous ghost story closely allied; thus making any kind of an where formalism or the author's knowing unknown world a world of peril and evil wink removes the true sense of the morbidly possibilities. When to this sense of fear and unnatural; but these things are not the evil the inevitable fascination of wonder and literature of cosmic fear in its purest sense. curiosity is superadded, there is born a The true weird tale has something more than composite body of keen emotion and secret murder, bloody bones, or a sheeted imaginative provocation whose vitality must form clanking chains according to rule. A of necessity endure as long as the human certain atmosphere of breathless and race itself. Children will always be afraid of unexplainable dread of outer, unknown the dark, and men with minds sensitive to forces must be present; and there must be a hereditary impulse will always tremble at the hint, expressed with a seriousness and thought of the hidden and fathomless worlds portentousness becoming its subject, of that of strange life which may pulsate in the gulfs most terrible conception of the human brain beyond the stars, or press hideously upon Ða malign and particular suspension or our own globe in unholy dimensions which defeat of those fixed laws of Nature which only the dead and the moonstruck can are our only safeguard against the assaults of glimpse. chaos and the daemons of unplumbed space. With this foundation, no one need wonder at Naturally we cannot expect all weird tales to the existence of a literature of cosmic fear. It conform absolutely to any theoretical model. has always existed, and always will exist; Creative minds are uneven, and the best of and no better evidence of its tenacious fabrics have their dull spots. Moreover, much vigour can be cited than the impulse which of the choicest weird work is unconscious; 2 appearing in memorable fragments scattered flourished from prehistoric times, and which through material whose massed effect may reached its highest development in Egypt be of a very different cast. Atmosphere is the and the Semitic nations. Fragments like the all-important thing, for the final criterion of Book of Enoch and the Claviculae of authenticity is not the dovetailing of a plot Solomon well illustrate the power of the but the creation of a given sensation. We weird over the ancient Eastern mind, and may say, as a general thing, that a weird upon such things were based enduring story whose intent is to teach or produce a systems and traditions whose echoes extend social effect, or one in which the horrors are obscurely even to the present time. Touches finally explained away by natural means, is of this transcendental fear are seen in classic not a genuine tale of cosmic fear; but it literature, and there is evidence of its still remains a fact that such narratives often greater emphasis in a ballad literature which possess, in isolated sections, atmospheric paralleled the classic stream but vanished for touches which fulfil every condition of true lack of a written medium. The Middle Ages, supernatural horror-literature. Therefore we steeped in fanciful darkness, gave it an must judge a weird tale not by the author's enormous impulse toward expression; and intent, or by the mere mechanics of the plot; East and West alike were busy preserving but by the emotional level which it attains at and amplifying the dark heritage, both of its least mundane point. If the proper random folklore and of academically sensations are excited, such a ªhigh spotº formulated magic and cabbalism, which had must be admitted on its own merits as weird descended to them. Witch, werewolf, literature, no matter how prosaically it is vampire, and ghoul brooded ominously on later dragged down. The one test of the the lips of bard and grandam, and needed really weird is simply thisÐwhether or not but little encouragement to take the final there be excited in the reader a profound step across the boundary that divides the sense of dread, and of contact with unknown chanted tale or song from the formal literary spheres and powers; a subtle attitude of composition. In the Orient, the weird tale awed listening, as if for the beating of black tended to assume a gorgeous colouring and wings or the scratching of outside shapes sprightliness which almost transmuted it into and entities on the known universe's utmost sheer phantasy.
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