Miri Nigri

The Cthulhu Mythos is a mythopoeia and a shared fictional universe, originating in the works of 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.

Richard L. Tierney, a writer who also wrote Mythos tales, later applied the term "Derleth Mythos" to distinguish Lovecraft's works from Derleth's later stories, which modify key tenets of the Mythos. Authors of Lovecraftian horror in particular frequently use elements of the Cthulhu Mythos.

History

In his essay "H. P. Lovecraft and the Cthulhu Mythos", Robert M. Price described two stages in the development of the Cthulhu Mythos. Price called the first stage the "Cthulhu Mythos proper". This stage was formulated during Lovecraft's lifetime and was subject to his guidance. The second stage was guided by August Derleth who, in addition to publishing Lovecraft's stories after his death, attempted to categorize and expand the Mythos.

First stage

An ongoing theme in Lovecraft's work is the complete irrelevance of mankind in the face of the cosmic horrors that apparently exist in the universe. Lovecraft made frequent references to the "Great Old Ones", a loose pantheon of ancient, powerful deities from space who once ruled the Earth and have since fallen into a deathlike sleep. While these monstrous deities were present in almost all of Lovecraft's published work (his second short story "Dagon", published in 1919, is considered the start of the Mythos), the first story to really expand the pantheon of Great Old Ones and its themes is "The Call of Cthulhu", which was published in 1928.

Lovecraft broke with other pulp writers of the time by having his main characters' minds deteriorate when afforded a glimpse of what exists outside their perceived reality. He emphasized the point by stating in the opening sentence of the story that "The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents."

Writer Dirk W. Mosig noted that Lovecraft was a "mechanistic materialist" who embraced the philosophy of cosmic indifferentism and believed in a purposeless, mechanical, and uncaring universe. Human beings, with their limited faculties, can never fully understand this universe, and the cognitive dissonance caused by this revelation leads to insanity, in his view.

There have been attempts at categorizing this fictional group of beings. Phillip A. Schreffler argues that by carefully scrutinizing Lovecraft's writings, a workable framework emerges that outlines the entire "pantheon"from the unreachable "Outer Ones" (e.g., Azathoth, who occupies the centre of the universe) and "Great Old Ones" (e.g., Cthulhu, imprisoned on Earth in the sunken city of R'lyeh) to the lesser castes (the lowly slave shoggoths and the Mi-Go).

David E. Schultz said Lovecraft never meant to create a canonical Mythos but rather intended his imaginary pantheon to serve merely as a background element. Lovecraft himself humorously referred to his Mythos as "Yog Sothothery" (Dirk W. Mosig coincidentally suggested the term ''Yog-Sothoth Cycle of Myth'' be substituted for ''Cthulhu Mythos''). At times, Lovecraft even had to remind his readers that his Mythos creations were entirely fictional.

The view that there was no rigid structure is expounded upon by S. T. Joshi, who said

Price said Lovecraft's writings could at least be divided into categories and identified three distinct themes: the "Dunsanian" (written in a similar style as Lord Dunsany), "Arkham" (occurring in Lovecraft's fictionalized New England setting), and "Cthulhu" (the cosmic tales) cycles. Writer Will Murray noted that while Lovecraft often used his fictional pantheon in the stories he ghostwrote for other authors, he reserved Arkham and its environs exclusively for those tales he wrote under his own name.

Although the Mythos was not formalized or acknowledged between them, Lovecraft did correspond and share story elements with other contemporary writers including Clark Ashton Smith, Robert E. Howard, Robert Bloch, Frank Belknap Long, Henry Kuttner, Henry S. Whitehead, and Fritz Leibera group referred to as the "Lovecraft Circle."

For example, Robert E. Howard's character Friedrich Von Junzt reads Lovecraft's ''Necronomicon'' in the short story "The Children of the Night" (1931), and in turn Lovecraft mentions Howard's ''Unaussprechlichen Kulten'' in the stories "Out of the Aeons" (1935) and "The Shadow Out of Time" (1936). Many of Howard's original unedited '' Conan'' stories also involve parts of the Cthulhu Mythos.

Second stage

Price denotes the second stage's commencement with August Derleth, with the principal difference between Lovecraft and Derleth being Derleth's use of hope and development of the idea that the Cthulhu Mythos essentially represented a struggle between good and evil. Derleth is credited with creating the "Elder Gods". He stated:

Price said the basis for Derleth's system is found in Lovecraft: "Was Derleth's use of the rubric 'Elder Gods' so alien to Lovecraft's in ''At the Mountains of Madness''? Perhaps not. In fact, this very story, along with some hints from "The Shadow over Innsmouth", provides the key to the origin of the 'Derleth Mythos'. For in ''At the Mountains of Madness'' is shown the history of a conflict between interstellar races, first among them the Elder Ones and the Cthulhu-spawn.

Derleth said Lovecraft wished for other authors to actively write about the Mythos as opposed to it being a discrete plot device within Lovecraft's own stories. Derleth expanded the boundaries of the Mythos by including any passing reference to another author's story elements by Lovecraft as part of the genre. Just as Lovecraft made passing reference to Clark Ashton Smith's ''Book of Eibon'', Derleth in turn added Smith's Ubbo-Sathla to the Mythos.

Derleth also attempted to connect the deities of the Mythos to the four elements (air, earth, fire, and water), creating new beings representative of certain elements in order to legitimize his system of classification. He created "Cthugha" as a sort of fire elemental when a fan, Francis Towner Laney, complained that he had neglected to include the element in his schema. Laney, the editor of '' The Acolyte'', had categorized the Mythos in an essay that first appeared in the Winter 1942 issue of the magazine.

Impressed by the glossary, Derleth asked Laney to rewrite it for publication in the Arkham House collection ''Beyond the Wall of Sleep'' (1943). Laney's essay ("The Cthulhu Mythos") was later republished in ''Crypt of Cthulhu #32'' (1985). In applying the elemental theory to beings that function on a cosmic scale (e.g., Yog-Sothoth) some authors created a fifth element that they termed ''aethyr''.

Fictional cults

A number of fictional cults appear in the Cthulhu Mythos, the loosely connected series of horror stories written by Lovecraft and other writers inspired by his creations. Many of these cults serve the Outer God Nyarlathotep, the Crawling Chaos, a protean creature that appears in myriad guises. Other cults are dedicated to the cause of the Great Old Ones, a group of powerful alien beings currently imprisoned or otherwise resting in a deathlike sleep.

See also

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References

Further reading

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* Dziemianowicz, Stefan. "The Cthulhu Mythos: Chronicle of a Controversy". In The Lovecraft Society of New England (ed) ''Necronomicon: The Cthulhu Mythos Convention 1993'' (convention book). Boston: NecronomiCon, 1993, pp. 25–31
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External links

Lovecraft Archive
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a mapping of Lovecraft's imaginary version of New England

Lovecraft: Fear of the Unknown
– full documentary at the Snagfilms company YouTube channel

Schema on Lovecraft’s »The Call of Ctuhulhu« and the Cthulhu Mythos

{{At the Mountains of Madness

American novels adapted into films
American novels adapted into plays
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Novels adapted into video games
Shared universes