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Was Cthulhu a King of Atlantis?

9/25/2012

16 Comments

 
My Cult of Alien Gods and its supporting materials—including the revised version of my “Secret History of Ancient Astronauts” being published next month in Dark Lore VII—take a materialist view of the Cthulhu Mythos, assuming (correctly, by all rational laws of nature), that the Cthulhu Mythos is the invention of H. P. Lovecraft and has no basis in fact whatsoever beyond the building blocks from Theosophy, the Arabian Nights, and the Encyclopedia Britannica that Lovecraft used to develop it.

But have you ever wondered what would have happened if my Cult of Alien Gods had been written by an "alternative" theorist? Fortunately, we don’t have to wonder. It really happened.

By a weird coincidence, at the same time I was writing The Cult of Alien Gods in 2004 (and publishing “Charioteer of the Gods”) occultist Tracy R. Twyman wrote her own funhouse-mirror version of my Lovecraft connection theory called “Dead but Dreaming: The Great Old Ones of Lovecraftian Legend Reinterpreted as Atlantean Kings.”

Whereas I looked at the connections between Lovecraft and ancient astronaut authors through the lens of the influence of (artificial) ideas, Twyman instead suggested that Lovecraft was carrying forward an esoteric tradition drawn from the Book of Enoch and the lost continent of Atlantis by way of Sumerian mythology. (This last point is obviously derived from the Sumerian-influenced hoax Necronomicon of Simon, which she acknowledges later.) She suggests that the “fall” of Cthulhu (i.e., his imprisonment in R'lyeh) descends from the Book of Enoch and the “universal” tale of Atlantis.

Cthulhu, she claims, bears a striking resemblance to Oannes, the fish-man wrongly identified in Lovecraft’s day with Dagon and later with ancient astronaut flying space frogs. I don’t see it, personally. Cthulhu is an octopus-headed dragon, while Oannes is a man in a fish suit. Cthulhu has wings and claws; Oannes doesn’t.

The descent of R’lyeh into the abyss, she says “parallel[s] precisely the tales of the Nephilim, the Titans, and the war in Heaven between God and Lucifer, as well as the fall of the Atlantean empire,” with the promised return of Cthulhu a cipher for the Apocalypse of Revelation.

At no time does Twyman seem to understand that she has the order of events backward. The prophesied return of Cthulhu resembles Revelation (and Ragnorak) because Lovecraft was Biblically literate and used the Biblical narrative as a base in order to subvert it. The imagined “fall” of Cthulhu, however, bears only a superficial resemblance to Atlantis, and even that was intentional. Lovecraft tried to create a (fictional) analogue to Plato’s Atlantis narrative as an answer to the Theosophists and their silly claims about Venusians running occult schools on Lemuria. Plato’s Atlantis sinks because of the Atlanteans’ sins; the Nephilim fall because they are evil. Cthulhu and R’lyeh sink beneath the waves—just because. Geology happens. There is no moral good or evil implied. It just happened. This is decidedly not parallel but rather a subversion of the traditional Classical and Biblical narratives Lovecraft knew very well.

But Twyman is so blinded by ideology that she cannot fathom that Lovecraft was conscious of his own material; she truly believes that R’lyeh is a secret Atlantis and that it sank because of—seriously—Noah’s Flood. She thinks the Old Ones’ reign was “glorious” like that of Atlantis, Lemuria, or Thule because she cannot parse Lovecraft’s complex narrative and takes his intentionally Biblical words at face value. The Old Ones’ reign was one of violence, blood, and death; it is considered glorious by a delusional cult.

That same literal-mindedness leads her to read deep secrets into the Esoteric Order of Dagon practicing in an old Masonic Hall. Unable to believe that Lovecraft knew enough of Masons (and Masonic conspiracy theories) to purposely use them to lend weight to the fictive Dagon cult, she instead reads this as proof that the real-life ancient cult of Dagon (whom she views as Satan) is in league with the flesh-and-blood Freemasons!

This is not enough, of course. She takes the hoax Necronomicon of Simon as a genuine representation of Sumerian myth, and based on its forced and false parallels between Lovecraft’s deities and Sumer’s (which exist only because Lovecraft used Classical, Biblical, and Arabian myths as inspiration, and these share an uneasy heritage with Mesopotamia) she suggests that the Sumerian (actually Babylonian) practice of identifying gods with planets (like the Romans did—Jupiter, anyone?) meant that the “gods” were from outer space or another dimension, like Cthulhu!

Her article shades into Lovecraftian Magick, the weird practice of taking Lovecraft as a conduit of truths from another sphere and then trying to summon his monsters. The late Kenneth L. Grant actually argued that Lovecraft unconsciously channeled the Necronomicon from another dimension and that therefore one could summon Cthulhu using appropriate spells. Since we are all still alive, this is obviously untrue. It was, however, a survival of Theosophy’s unique insight that it could claim science fiction as prophecies of Theosophy by declaring that sci-fi writers merely received their ideas from the plane of ether, where Theosophy’s extraterrestrial gods spend their time when not cruising earth’s skies in flying chariots.

Twyman’s article reads like a parody of my own. Instead of seeking out the facts as they exist here on the earth, among real people, she dances across the clouds making “connections” at random, ignorant of the human motives behind them and unwilling to acknowledge that even a single piece of writing is the result of conscious decisions rather than the passive receipt of inspiration from the level beyond human.

Lovecraft’s “Call of Cthulhu” acknowledges and subverts Atlantis and Armageddon—and this was intentional. Similarly, Lovecraft’s “Dunwich Horror” purposely acknowledges and subverts the life of Christ. By failing to recognize intentionality and the role of the author as creator of his own narrative, Twyman can propose a global, universal, self-reproducing set of myths and legends. But this is a chimera. Hmm. I better watch myself. She might take that literally and think I’m channeling hybrid monsters from the plane of ether! And whatever you do, don’t let her see Cthulhu in World Mythology. I shudder to think what she would make of my parody.

16 Comments
Warlock Asylum link
4/16/2013 01:34:36 pm

It would seem Cthulhu symbolized the remains of an Atlantean cult:

http://warlockasylum.wordpress.com/the-works-of-warlock-asylum/excerpt-from-the-atlantean-necronomicon-kutulu/

Reply
Jason Colavito link
4/16/2013 01:40:05 pm

What on earth was that? I can't tell if it's meant to be serious or some kind of joke.

Reply
uillceal
3/4/2018 03:27:26 pm

website of warlock asylum is now Error Code: 404
:

Warlock Asylum link
5/21/2013 10:00:33 am

Its not a joke. We have validated about 90 percent of the Simon Version of the Necronomicon with ancient history.

http://warlockasylum.wordpress.com/2008/11/17/interview-with-denny-sargent-a-friend-of-the-authors-of-the-simon-necronomicon/

This page also features debates with Dan Harms, author of the Necronomicon Files. While I am not in full agreement with Twyman's work either, just saying something was a hoax with no personal research into the authors motives, pro or con, is not effective journalism either

Reply
Jason Colavito link
5/21/2013 10:08:36 am

I'm not sure what your point is; the Simon Necronomicon ripped much of its material from Sumerian texts and changed the names, so, yes, it is "valid" in that it was based on ancient material. That doesn't make it old, however.

Reply
Warlock Asylum
5/29/2013 10:11:18 am

That's true. But you're making it sound like a hoax. All grimoires are pretty much fashioned in the same way the Simon Necronomicon was. In fact, most grimoires gain their title based on legendary books that existed before the published grimoires time, perfect example, is the Keys of Solomon. So I'm not sure why you're call the Simon Necronomicon a hoax, if it was constructed in the same manner that other grimoires were?

Reply
Jason Colavito link
5/29/2013 10:14:30 am

Because it was marketed and sold to the public as the genuine ancient text referred to in Lovecraft, which it obviously is not. Whatever its value as a grimoire, as the text described in Lovecraft it is a hoax.

Reply
Warlock Asylum
5/30/2013 10:29:44 am

That doesn't mean it is a hoax. i am not sure if you understand that most grimoires of the Middle Ages used the same sort of "marketing" passing itself off as a Book used by King Solomon, or Enoch, and pretending to be much older than it really was. My thing is that if this is true of 95% of grimoires available since the Middle Ages, why are you singling out the Simon book as a hoax?

Reply
Jason Colavito link
5/30/2013 10:52:30 am

(a) The Simon book is not medieval in date and therefore does not have anything to do with medieval grimoires.

(b) The Simon book purports to be the text of a book invented by H. P. Lovecraft and was marketed as such. Since you agree it was not, it is therefore a hoax insofar as it is not what it claims to be. Yes, that makes other grimoires hoaxes as well insofar as they are not written by their purported authors. As I said, I am not judging its value as a grimoire, only whether it is actually the text referred to by Lovecraft.

(c) As you may have noticed, I was writing about H. P. Lovecraft and Cthulhu; therefore, I "singled out" the Simon book because it is the only one that claims to be Lovecraftian.

Reply
Warlock Asylum link
6/6/2013 09:59:32 am

Don't get me wrong Mr. Colavito, you're a good writer, but saying the Simon Necronomicon is a "hoax," is like siding with a battle between two authors. Its like if you wrote a book on a subject and another author was jealous, and called it a "hoax" to make it seem foolish to even read your new work.

That's why the term "hoax" is associated with the Simon Necronomicon. Although there is a lot of information on the internet saying such, it was done due to a "beef" between authors.

First, the book doesn't purport to be the text of H.P. Lovecraft. This is what is say in the Simon Necronomicon's introduction:

"Lovecraft's Cthulhu Mythos was meant for entertainment. Scholars, of course, are able to find higher, ulterior motives in Lovecraft's writings, as can be done with any manifestation of Art."

I'm not sure where you are getting your information from, but this says that Lovecraft's Cthulhu Mythos was meant for entertainment!

Reply
Jason Colavito link
6/6/2013 10:16:39 am

You very obviously come from a place where you take the content of a book to be independent of its historical context, that a grimoire is "real" as long as it works for your magickal purposes. But you know very well that the "Prefatory Notes" of the Simon Necronomicon describe how a Greek manuscript came into the "editor's" hands from a mysterious monk under the title Necronomicon, that it contains genuine ancient material, and that it was written by the "Mad Arab," the title of Abdul Alhazred, in the medieval period. You also know that this is not true, that it was not written by the Mad Arab, and that it was almost certainly never composed in Arabic or Greek but is instead a pastiche of 1960s-era versions of Sumerian and Babylonian texts, altered to look more Lovecraftian. To the extent that this was presented to the public as a genuine ancient manuscript, it is lying. Surely you recognize that.

Reply
Warlock Asylum link
7/11/2013 07:06:07 am

If you look into some of the Enochian Magic writings similar things can be said, and also about the Solomonic Keys, for there is evidence showing that these works too, were formed in the same manner as the Simon Necronomicon, but since they are popular among magicians, people critisize hese rarely. Simon wrote in the introduction that the Cthulhu Mythos was meant simply for entertainment purposes only. So what you are implying is not accurate.

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Jason Colavito link
7/11/2013 07:42:05 am

Um, no. The Key of Solomon was not written by Solomon and is not 3500 years old. It's a medieval concoction, drawing on (perceived) factual magickal material and placing it in a fictional context. This is exactly parallel to the Simon Necronomicon, and neither is genuinely ancient AS WRITTEN, though they may contain scraps or sections of older material.

Reply
Tracy Twyman link
9/19/2014 10:24:03 am

My essay on Lovecraft and Atlantis was published on the Dagobert's Revenge website several years before 2004, probably around 1999 or 2000. The article you are linking to here is from a website that has simply reposted loads of my material without permission.

Reply
an
11/13/2015 03:16:32 am

You know there are reasons beyond "misinterpreting the material" to change what Lovecraft did, and that he wasn't some unassailable genius. A lot of his stories were predicated on troubling racist premises - his opposition to Dagon and the people of Innsmouth reads like atrocity propaganda, particularly fixated on Innsmouth poverty, physical deformity, and ugliness, with the only real evidence of "evil" being an ancient raving drunkard recounting what he believed was a body dump at the age of 7.

Reinterpreting A Shadow over Innsmouth as a tale of white supremacy and arrogance in appropriating/commodifying other religions for the purpose of profit, while practicing them improperly, for example, brings the mythos into the current day and makes it relevant.

Or you could keep on being afraid that your grandfather is welsh. Your choice.

Reply
uillceal
3/4/2018 03:29:18 pm

Warlock Asylum site is Error Code: 404. So take that as you will.

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