When, long ago, the Gods created Earth,
In Jove’s fair image Man was shap’d at birth.
The beasts for lesser parts were next design’d;
Yet were they too remote from humankind.
To fill this gap, and join the rest to man,
Th’ Olympian host conceiv’d a clever plan.
A beast they wrought, in semi-human figure,
Fill’d it with vice, and call’d the thing a NIGGER.
DESCRIPTION: In his poem “On the Creation of Niggers,” Lovecraft describes, using racist language, the mythological creation of African peoples, depicting them as less than human.
CITATION: Lovecraft, H. P. “On the Creation of Niggers.” The Ancient Track: The Complete Poetical Works of H. P. Lovecraft. Edited by S. T. Joshi, Hippocampus Press, 2013, p. 389.
Were I to grow sober and introspective like you and the Galpin Kidlet, I should describe mine own nature as tripartite, my interests consisting of three parallel and dissociated groups—(a) Love of the strange and the fantastic. (b) Love of the abstract truth and of scientific logick. (c) Love of the ancient and the permanent. Sundry combinations of these three strains will probably account for all my odd tastes and eccentricities.
DESCRIPTION: In a letter to his friend Rheinhart Kleiner, Lovecraft describes his nature as being composed of three contradictory parts.
CITATION: Lovecraft, H. P. “To Rheinhart Kleiner.” 7 Mar. 1920. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 1, Arkham House, 1965, pp. 109-12.
… the word is supposed to represent a fumbling human attempt to catch the phonetics of an absolutely non-human word. The name of the hellish entity was invented by beings whose vocal organs were not like man’s, hence it has no relation to the human speech equipment. The syllables were determined by a physiological equipment wholly unlike ours, hence could never be uttered perfectly by human throats.… The actual sound—as nearly as human organs could imitate it or human letters record it—may be taken as something like Khlûlˊ-hloo, with the first syllable pronounced gutturally and very thickly. The u is about like that in full; and the first syllable is not unlike klul in sound, hence the h represents the guttural thickness.
DESCRIPTION: In a letter to his friend Duane Rimel, Lovecraft explains how to pronounce the name of his most famous creation, Cthulhu.
CITATION: Lovecraft, H. P. “To Duane Rimel.” 23 July 1934. Selected Letters. Edited by August Derleth and James Turner, vol. 5, Arkham House, 1976, pp. 10-11.
Modern bards, in their endeavour to display with seriousness and minute verisimilitude the inward operations of the human mind and emotions, have come to look down upon the simple description of ideal beauty, or the straightforward presentation of pleasing images for no other purpose than to delight the fancy. Such themes they deem trivial and artificial, and altogether unworthy of an art whose design they take to be the analysis and reproduction of Nature in all her moods and aspects.
But in this belief, the writer cannot but hold that our contemporaries are misjudging the true province and functions of poesy. It was no starched classicist, but the exceedingly unconventional Edgar Allan Poe, who roundly denounced the melancholy metaphysicians and maintained that true poetry has for its first object “pleasure, not truth”, and “indefinite pleasure instead of definite pleasure”. Mr. Poe, in another essay, defined poetry as “the rhythmical creation of beauty”, intimating that its concern for the dull or ugly aspects of life is slight indeed. That the American bard and critic was fundamentally just in his deductions, seems well proved by a comparative survey of those poems of all ages which have lived, and those which have fallen into deserved obscurity.
DESCRIPTION: In his essay “The Despised Pastoral,” Lovecraft claims that the true function of poetry is to “delight the fancy,” a truth, he claims, that most contemporary poets have overlooked.
CITATION: Lovecraft, H. P. “The Despised Pastoral.” Collected Essays. Edited by S. T. Joshi, vol. 2, Hippocampus Press, 2004, pp. 22-3.