“Denis had to stop again there, and I saw the perspiration running down his forehead through the spattered blood. But in a moment he hoarsely resumed.
“‘I said it was all over — but God! some of it had only just begun! I felt I had fought the legions of Satan, and put my foot on the back of the thing I had annihilated. Then I saw that blasphemous braid of coarse black hair begin to twist and squirm of itself.
“‘I might have known it. It was all in the old tales. That damnable hair had a life of its own, that couldn’t be ended by killing the creature itself. I knew I’d have to burn it, so I started to hack it off with the machete. God, but it was devilish work! Tough — like iron wires — but I managed to do it. And it was loathsome the way the big braid writhed and struggled in my grasp.
“‘About the time I had the last strand cut or pulled off I heard that eldritch wailing from behind the house. You know — it’s still going off and on. I don’t know what it is, but it must be something springing from this hellish business. It half seems like something I ought to know but can’t quite place. It got my nerves the first time I heard it, and I dropped the severed braid in my fright. Then, I got a worse fright — for in another second the braid had turned on me and began to strike venomously with one of its ends which had knotted itself up like a sort of grotesque head. I struck out with the machete, and it turned away. Then, when I had my breath again, I saw that the monstrous thing was crawling along the floor by itself like a great black snake. I couldn’t do anything for a while, but when it vanished through the door I managed to pull myself together and stumble after it. I could follow the broad, bloody trail, and I saw it led upstairs. It brought me here — and may heaven curse me if I didn’t see it through the doorway, striking at poor dazed Marsh like a maddened rattler as it had struck at me, finally coiling around him as a python would. He had begun to come to, but that abominable serpent thing got him before he was on his feet. I knew that all of that woman’s hatred was behind it, but I hadn’t the power to pull it off. I tried, but it was too much for me. Even the machete was no good — I couldn’t swing it freely or it would have slashed Frank to pieces. So I saw those monstrous coils tighten — saw poor Frank crushed to death before my eyes — and all the time that awful faint howling came from somewhere beyond the fields.
“‘That’s all. I pulled the velvet cloth over the picture and hope it’ll never be lifted. The thing must be burnt. I couldn’t pry the coils off poor, dead Frank — they cling to him like a leach, and seem to have lost their motion altogether. It’s as if that snaky rope of hair has a kind of perverse fondness for the man it killed — it’s clinging to him — embracing him. You’ll have to burn poor Frank with it — but for God’s sake don’t forget to see it in ashes. That and the picture. They must both go. The safety of the world demands that they go.’
“Denis might have whispered more, but a fresh burst of distant wailing cut us short. For the first time we knew what it was, for a westerly veering wind brought articulate words at last. We ought to have known long before, since sounds much like it had often come from the same source. It was wrinkled Sophonisba, the ancient Zulu witch-woman who had fawned on Marceline, keening from her cabin in a way which crowned the horrors of this nightmare tragedy. We could both hear some of the things she howled, and knew that secret and primordial bonds linked this savage sorceress with that other inheritor of elder secrets who had just been extirpated. Some of the words she used betrayed her closeness to daemonic and palaeogean traditions.
“‘Iä! Iä! Shub-Niggurath! Ya-R’lyeh! N’gagi n’bulu bwana n’lolo! Ya, yo, pore Missy Tanit, pore Missy Isis! Marse Clooloo, come up outen de water an’ git yo chile — she done daid! She done daid! De hair ain’ got no missus no mo’, Marse Clooloo. Ol’ Sophy, she know! Ol’ Sophy, she done got de black stone outen Big Zimbabwe in ol’ Affriky! Ol’ Sophy, she done dance in de moonshine roun’ de crocodile-stone befo’ de N’bangus cotch her and sell her to de ship folks! No mo’ Tanit! No mo’ Isis! No mo’ witch-woman to keep de fire a-goin’ in de big stone place! Ya, yo! N’gagi n’bulu bwana n’lolo! Iä! Shub-Niggurath! She daid! Ol’ Sophy know!’
“That wasn’t the end of the wailing, but it was all I could pay attention to. The expression on my boy’s face shewed that it had reminded him of something frightful, and the tightening of his hand on the machete boded no good. I knew he was desperate, and sprang to disarm him if possible before he could do anything more.
“But I was too late. An old man with a bad spine doesn’t count for much physically. There was a terrible struggle, but he had done for himself before many seconds were over. I’m not sure yet but that he tried to kill me, too. His last panting words were something about the need of wiping out everything that had been connected with Marceline, either by blood or marriage.”
V.
“I wonder to this day that I didn’t go stark mad in that instant — or in the moments and hours afterward. In front of me was the slain body of my boy — the only human being I had to cherish — and ten feet away, in front of that shrouded easel, was the body of his best friend, with a nameless coil of horror wound around it. Below was the scalped corpse of that she-monster, about whom I was half-ready to believe anything. I was too dazed to analyse the probability of the hair story — and even if I had not been, that dismal howling from Aunt Sophy’s cabin would have been enough to quiet doubt for the nonce.
“If I’d been wise, I’d have done just what poor Denis told me to — burned the picture and the body-grasping hair at once and without curiosity — but I was too shaken to be wise. I suppose I muttered foolish things over my boy — and then I remembered that the night was wearing on and that the servants would be back in the morning. It was plain that a matter like this could never be explained, and I knew that I must cover things up and invent a story.
“That coil of hair around Marsh was a monstrous thing. As I poked at it with a sword which I took from the wall I almost thought I felt it tighten its grip on the dead man. I didn’t dare touch it — and the longer I looked at it the more horrible things I noticed about it. One thing gave me a start. I won’t mention it — but it partly explained the need for feeding the hair with queer oils as Marceline had always done.
“In the end I decided to bury all three bodies in the cellar — with quicklime, which I knew we had in the storehouse. It was a night of hellish work. I dug three graves — my boy’s a long way from the other two, for I didn’t want him to be near either the woman’s body or her hair. I was sorry I couldn’t get the coil from around poor Marsh. It was terrible work getting them all down to the cellar. I used blankets in carting the woman and the poor devil with the coil around him. Then I had to get two barrels of lime from the storehouse. God must have given me strength, for I not only moved them both but filled all three graves without a hitch.
“Some of the lime I made into whitewash. I had to take a stepladder and fix over the parlour ceiling where the blood had oozed through. And I burned nearly everything in Marceline’s room, scrubbing the walls and floor and heavy furniture. I washed up the attic studio, too, and the trail and footprints that led there. And all the time I could hear old Sophy’s wailing in the distance. The devil must have been in that creature to let her voice go on like that. But she always was howling queer things. That’s why the field niggers didn’t get scared or curious that night. I locked the studio door and took the key to my room. Then I burned all my stained clothes in the fireplace. By dawn the whole house looked quite normal so far as any casual eye could tell. I hadn’t dared touch the covered easel, but meant to attend to that later.
“Well, the servants came back next day, and I told them all the young folks had gone to St. Louis. None of the field hands seemed to have seen or heard anything, and old Sophonisba’s wailing had stopped at the instant of sunrise. She was like a sphinx after that, and never let out a word of what had been on her brooding witch-brain the day and night before.
“Later on I pretended tha
t Denis and Marsh and Marceline had gone back to Paris and had a certain discreet agency mail me letters from there — letters I had fixed up in forged handwriting. It took a good deal of deceit and reticence to explain things to various friends, and I know people have secretly suspected me of holding something back. I had the deaths of Marsh and Denis reported during the war, and later said Marceline had entered a convent. Fortunately Marsh was an orphan whose eccentric ways had alienated him from his people in Louisiana. Things might have been patched up a good deal better for me if I had had the sense to burn the picture, sell the plantation, and give up trying to manage things with a shaken and overstrained mind. You see what my folly has brought me to. Failing crops — hands discharged one by one — place falling to ruin — and myself a hermit and a target for dozens of queer countryside stories. Nobody will come around here after dark nowadays — or any other time if it can be helped. That’s why I knew you must be a stranger.
“And why do I stay here? I can’t wholly tell you that. It’s bound up too closely with things at the very rim of sane reality. It wouldn’t have been so, perhaps, if I hadn’t looked at the picture. I ought to have done as poor Denis told me. I honestly meant to burn it when I went up to that locked studio a week after the horror, but I looked first — and that changed everything.
“No — there’s no use telling what I saw. You can, in a way, see for yourself presently; though time and dampness have done their work. I don’t think it can hurt you if you want to take a look, but it was different with me. I knew too much of what it all meant.
“Denis had been right — it was the greatest triumph of human art since Rembrandt, even though still unfinished. I grasped that at the start, and knew that poor Marsh had justified his decadent philosophy. He was to painting what Baudelaire was to poetry — and Marceline was the key that had unlocked his inmost stronghold of genius.
“The thing almost stunned me when I pulled aside the hangings — stunned me before I half knew what the whole thing was. You know, it’s only partly a portrait. Marsh had been pretty literal when he hinted that he wasn’t painting Marceline alone, but what he saw through her and beyond her.
“Of course she was in it — was the key to it, in a sense — but her figure only formed one point in a vast composition. She was nude except for that hideous web of hair spun around her, and was half-seated, half-reclining on a sort of bench or divan, carved in patterns unlike those of any known decorative tradition. There was a monstrously shaped goblet in one hand, from which was spilling fluid whose colour I haven’t been able to place or classify to this day — I don’t know where Marsh even got the pigments.
“The figure and the divan were in the left-hand foreground of the strangest sort of scene I ever saw in my life. I think there was a faint suggestion of its all being a kind of emanation from the woman’s brain, yet there was also a directly opposite suggestion — as if she were just an evil image or hallucination conjured up by the scene itself.
“I can’t tell you now whether it’s an exterior or an interior — whether those hellish Cyclopean vaultings are seen from the outside or the inside, or whether they are indeed carven stone and not merely a morbid fungous arborescence. The geometry of the whole thing is crazy — one gets the acute and obtuse angles all mixed up.
“And God! The shapes of nightmare that float around in that perpetual daemon twilight! The blasphemies that lurk and leer and hold a Witches’ Sabbat with that woman as a high-priestess! The black shaggy entities that are not quite goats — the crocodile-headed beast with three legs and a dorsal row of tentacles — and the flat-nosed aegipans dancing in a pattern that Egypt’s priests knew and called accursed!
“But the scene wasn’t Egypt — it was behind Egypt; behind even Atlantis; behind fabled Mu, and myth-whispered Lemuria. It was the ultimate fountain-head of all horror on this earth, and the symbolism shewed only too clearly how integral a part of it Marceline was. I think it must be the unmentionable R’lyeh, that was not built by any creatures of this planet — the thing Marsh and Denis used to talk about in the shadows with hushed voices. In the picture it appears that the whole scene is deep under water — though everybody seems to be breathing freely.
“Well — I couldn’t do anything but look and shudder, and finally I saw that Marceline was watching me craftily out of those monstrous, dilated eyes on the canvas. It was no mere superstition — Marsh had actually caught something of her horrible vitality in his symphonies of line and colour, so that she still brooded and stared and hated, just as if most of her weren’t down in the cellar under quicklime. And it was worst of all when some of those Hecate-born snaky strands of hair began to lift themselves up from the surface and grope out into the room toward me.
“Then it was that I knew the last final horror, and realised I was a guardian and a prisoner forever. She was the thing from which the first dim legends of Medusa and the Gorgons had sprung, and something in my shaken will had been captured and turned to stone at last. Never again would I be safe from those coiling snaky strands — the strands in the picture, and those that lay brooding under the lime near the wine casks. All too late I recalled the tales of the virtual indestructibility, even through centuries of burial, of the hair of the dead.
“My life since has been nothing but horror and slavery. Always there had lurked the fear of what broods down in the cellar. In less than a month the niggers began whispering about the great black snake that crawled around near the wine casks after dark, and about the curious way its trail would lead to another spot six feet away. Finally I had to move everything to another part of the cellar, for not a darky could be induced to go near the place where the snake was seen.
“Then the field hands began talking about the black snake that visited old Sophonisba’s cabin every night after midnight. One of them shewed me its trail — and not long afterward I found out that Aunt Sophy herself had begun to pay strange visits to the cellar of the big house, lingering and muttering for hours in the very spot where none of the other blacks would go near. God, but I was glad when that old witch died! I honestly believe she had been a priestess of some ancient and terrible tradition back in Africa. She must have lived to be almost a hundred and fifty years old.
“Sometimes I think I hear something gliding around the house at night. There will be a queer noise on the stairs, where the boards are loose, and the latch of my room will rattle as if with an inward pressure. I always keep my door locked, of course. Then there are certain mornings when I seem to catch a sickish musty odour in the corridors, and notice a faint, ropy trail through the dust of the floors. I know I must guard the hair in the picture, for if anything were to happen to it, there are entities in this house which would take a sure and terrible revenge. I don’t even dare to die — for life and death are all one to those in the clutch of what came out of R’lyeh. Something would be on hand to punish my neglect. Medusa’s coil has got me, and it will always be the same. Never mix up with secret and ultimate horror, young man, if you value your immortal soul.”
VI.
As the old man finished his story I saw that the small lamp had long since burned dry, and that the large one was nearly empty. It must, I knew, be near dawn; and my ears told me that the storm was over. The tale had held me in a half-daze, and I almost feared to glance at the door lest it reveal an inward pressure from some unnamable source. It would be hard to say which had the greatest hold on me — stark horror, incredulity, or a kind of morbid fantastic curiosity. I was wholly beyond speech and had to wait for my strange host to break the spell.
“Do you want to see — the thing?”
His voice was very low and hesitant, and I saw he was tremendously in earnest. Of my various emotions, curiosity gained the upper hand; and I nodded silently. He rose, lighting a candle on a nearby table and holding it high before him as he opened the door.
“Come with me — upstairs.”
I dreaded to brave those musty corridors again, but fascination downed all my
qualms. The boards creaked beneath our feet, and I trembled once when I thought I saw a faint, rope-like line traced in the dust near the staircase.
The steps of the attic were noisy and rickety, with several of the treads missing. I was just glad of the need of looking sharply to my footing, for it gave me an excuse not to glance about. The attic corridor was pitch-black and heavily cobwebbed, and inch-deep with dust except where a beaten trail led to a door on the left at the farther end. As I noticed the rotting remains of a thick carpet I thought of the other feet which had pressed it in bygone decades — of these, and of one thing which did not have feet.
The old man took me straight to the door at the end of the beaten path, and fumbled a second with the rusty latch. I was acutely frightened now that I knew the picture was so close, yet dared not retreat at this stage. In another moment my host was ushering me into the deserted studio.
The candle light was very faint, yet served to shew most of the principal features. I noticed the low, slanting roof, the huge enlarged dormer, the curios and trophies hung on the walls — and most of all, the great shrouded easel in the centre of the floor. To that easel de Russy now walked, drawing aside the dusty velvet hangings on the side turned away from me, and motioning me silently to approach. It took a good deal of courage to make me obey, especially when I saw how my guide’s eyes dilated in the wavering candle light as he looked at the unveiled canvas. But again curiosity conquered everything, and I walked around to where de Russy stood. Then I saw the damnable thing.
I did not faint — though no reader can possibly realise the effort it took to keep me from doing so. I did cry out, but stopped short when I saw the frightened look on the old man’s face. As I had expected, the canvas was warped, mouldy, and scabrous from dampness and neglect; but for all that I could trace the monstrous hints of evil cosmic outsideness that lurked all through the nameless scene’s morbid content and perverted geometry.
Delphi Complete Works of H. P. Lovecraft (Illustrated) Page 124