Delphi Complete Works of H. P. Lovecraft(626)

Not less mysterious was the scroll it contained — a neat roll of some thin, bluish-white, unanalysable membrane, coiled round a slim rod of metal like that of the cylinder, and unwinding to a length of some two feet. The large, bold hieroglyphs, extending in a narrow line down the centre of the scroll and penned or painted with a grey pigment defying analysis, resembled nothing known to linguists and palaeographers, and could not be deciphered despite the transmission of photographic copies to every living expert in the given field.

It is true that a few scholars, unusually versed in the literature of occultism and magic, found vague resemblances between some of the hieroglyphs and certain primal symbols described or cited in two or three very ancient, obscure, and esoteric texts such as the Book of Eibon, reputed to descend from forgotten Hyperborea; the Pnakotic fragments, alleged to be pre-human; and the monstrous and forbidden Necronomicon of the mad Arab Abdul Alhazred. None of these resemblances, however, was beyond dispute; and because of the prevailing low estimation of occult studies, no effort was made to circulate copies of the hieroglyphs among mystical specialists. Had such circulation occurred at this early date, the later history of the case might have been very different; indeed, a glance at the hieroglyphs by any reader of von Junzt’s horrible Nameless Cults would have established a linkage of unmistakable significance. At this period, however, the readers of that monstrous blasphemy were exceedingly few; copies having been incredibly scarce in the interval between the suppression of the original Düsseldorf edition (1839) and of the Bridewell translation (1845) and the publication of the expurgated reprint by the Golden Goblin Press in 1909. Practically speaking, no occultist or student of the primal past’s esoteric lore had his attention called to the strange scroll until the recent outburst of sensational journalism which precipitated the horrible climax.

II.



Thus matters glided along for a half-century following the installation of the frightful mummy at the museum. The gruesome object had a local celebrity among cultivated Bostonians, but no more than that; while the very existence of the cylinder and scroll — after a decade of futile research — was virtually forgotten. So quiet and conservative was the Cabot Museum that no reporter or feature writer ever thought of invading its uneventful precincts for rabble-tickling material.

The invasion of ballyhoo commenced in the spring of 1931, when a purchase of somewhat spectacular nature — that of the strange objects and inexplicably preserved bodies found in crypts beneath the almost vanished and evilly famous ruins of Château Faussesflammes, in Averoigne, France — brought the museum prominently into the news columns. True to its “hustling” policy, the Boston Pillar sent a Sunday feature writer to cover the incident and pad it with an exaggerated general account of the institution itself; and this young man — Stuart Reynolds by name — hit upon the nameless mummy as a potential sensation far surpassing the recent acquisitions nominally forming his chief assignment. A smattering of theosophical lore, and a fondness for the speculations of such writers as Colonel Churchward and Lewis Spence concerning lost continents and primal forgotten civilisations, made Reynolds especially alert toward any aeonian relic like the unknown mummy.

At the museum the reporter made himself a nuisance through constant and not always intelligent questionings and endless demands for the movement of encased objects to permit photographs from unusual angles. In the basement library room he pored endlessly over the strange metal cylinder and its membraneous scroll, photographing them from every angle and securing pictures of every bit of the weird hieroglyphed text. He likewise asked to see all books with any bearing whatever on the subject of primal cultures and sunken continents — sitting for three hours taking notes, and leaving only in order to hasten to Cambridge for a sight (if permission were granted) of the abhorred and forbidden Necronomicon at the Widener Library.

On April 5th the article appeared in the Sunday Pillar, smothered in photographs of mummy, cylinder, and hieroglyphed scroll, and couched in the peculiarly simpering, infantile style which the Pillar affects for the benefit of its vast and mentally immature clientele. Full of inaccuracies, exaggerations, and sensationalism, it was precisely the sort of thing to stir the brainless and fickle interest of the herd — and as a result the once quiet museum began to be swarmed with chattering and vacuously staring throngs such as its stately corridors had never known before.

There were scholarly and intelligent visitors, too, despite the puerility of the article — the pictures had spoken for themselves — and many persons of mature attainments sometimes see the Pillar by accident. I recall one very strange character who appeared during November — a dark, turbaned, and bushily bearded man with a laboured, unnatural voice, curiously expressionless face, clumsy hands covered with absurd white mittens, who gave a squalid West End address and called himself “Swami Chandraputra”. This fellow was unbelievably erudite in occult lore and seemed profoundly and solemnly moved by the resemblance of the hieroglyphs on the scroll to certain signs and symbols of a forgotten elder world about which he professed vast intuitive knowledge.