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  Then he came to the strange cave in the forest slope, the dreaded “snake-den” which country folk shunned, and away from which Benijah had warned him again and again. It was deep; far deeper than anyone but Randolph suspected, for the boy had found a fissure in the farthermost black corner that led to a loftier grotto beyond—a haunting sepulchral place whose granite walls held a curious illusion of conscious artifice. On this occasion he crawled in as usual, lighting his way with matches filched from the sitting-room match-safe, and edging through the final crevice with an eagerness hard to explain even to himself. He could not tell why he approached the farther wall so confidently, or why he instinctively drew forth the great silver key as he did so. But on he went, and when he danced back to the house that night he offered no excuses for his lateness, nor heeded in the least the reproofs he gained for ignoring the noontide dinner-horn altogether.

  Now it is agreed by all the distant relatives of Randolph Carter that something occurred to heighten his imagination in his tenth year. His cousin, Ernest B. Aspinwall, Esq., of Chicago, is fully ten years his senior; and distinctly recalls a change in the boy after the autumn of 1883. Randolph had looked on scenes of fantasy that few others can ever have beheld, and stranger still were some of the qualities which he showed in relation to very mundane things. He seemed, in fine, to have picked up an odd gift of prophecy; and reacted unusually to things which, though at the time without meaning, were later found to justify the singular impressions. In subsequent decades as new inventions, new names, and new events appeared one by one in the book of history, people would now and then recall wonderingly how Carter had years before let fall some careless word of undoubted connection with what was then far in the future. He did not himself understand these words, or know why certain things made him feel certain emotions; but fancied that some unremembered dream must be responsible. It was as early as 1897 that he turned pale when some traveller mentioned the French town of Belloy-en-Santerre, and friends remembered it when he was almost mortally wounded there in 1916, while serving with the Foreign Legion in the Great War.

  Carter’s relatives talk much of these things because he has lately disappeared. His little old servant Parks, who for years bore patiently with his vagaries, last saw him on the morning he drove off alone in his car with a key he had recently found. Parks had helped him get the key from the old box containing it, and had felt strangely affected by the grotesque carvings on the box, and by some other odd quality he could not name. When Carter left, he had said he was going to visit his old ancestral country around Arkham.

  Half way up Elm Mountain, on the way to the ruins of the old Carter place, they found his motor set carefully by the roadside; and in it was a box of fragrant wood with carvings that frightened the countrymen who stumbled on it. The box held only a queer parchment whose characters no linguist or palaeographer has been able to decipher or identify. Rain had long effaced any possible footprints, though Boston investigators had something to say about evidences of disturbances among the fallen timbers of the Carter place. It was, they averred, as though someone had groped about the ruins at no distant period. A common white handkerchief found among forest rocks on the hillside beyond cannot be identified as belonging to the missing man.

  There is talk of apportioning Randolph Carter’s estate among his heirs, but I shall stand firmly against this course because I do not believe he is dead. There are twists of time and space, of vision and reality, which only a dreamer can divine; and from what I know of Carter I think he has merely found a way to traverse these mazes. Whether or not he will ever come back, I cannot say. He wanted the lands of dream he had lost, and yearned for the days of his childhood. Then he found a key, and I somehow believe he was able to use it to strange advantage.

  I shall ask him when I see him, for I expect to meet him shortly in a certain dream-city we both used to haunt. It is rumoured in Ulthar, beyond the River Skai, that a new king reigns on the opal throne of Ilek-Vad, that fabulous town of turrets atop the hollow cliffs of glass overlooking the twilight sea wherein the bearded and finny Gnorri build their singular labyrinths, and I believe I know how to interpret this rumour. Certainly, I look forward impatiently to the sight of that great silver key, for in its cryptical arabesques there may stand symbolised all the aims and mysteries of a blindly impersonal cosmos.

  The Music of Erich Zann

  I have examined maps of the city with the greatest care, yet have never again found the Rue d’Auseil. These maps have not been modern maps alone, for I know that names change. I have, on the contrary, delved deeply into all the antiquities of the place, and have personally explored every region, of whatever name, which could possibly answer to the street I knew as the Rue d’Auseil. But despite all I have done, it remains an humiliating fact that I cannot find the house, the street, or even the locality, where, during the last months of my impoverished life as a student of metaphysics at the university, I heard the music of Erich Zann.

  That my memory is broken, I do not wonder; for my health, physical and mental, was gravely disturbed throughout the period of my residence in the Rue d’Auseil, and I recall that I took none of my few acquaintances there. But that I cannot find the place again is both singular and perplexing; for it was within a half-hour’s walk of the university and was distinguished by peculiarities which could hardly be forgotten by any one who had been there. I have never met a person who has seen the Rue d’Auseil.

  The Rue d’Auseil lay across a dark river bordered by precipitous brick blear-windowed warehouses and spanned by a ponderous bridge of dark stone. It was always shadowy along that river, as if the smoke of neighboring factories shut out the sun perpetually. The river was also odorous with evil stenches which I have never smelled elsewhere, and which may some day help me to find it, since I should recognize them at once. Beyond the bridge were narrow cobbled streets with rails; and then came the ascent, at first gradual, but incredibly steep as the Rue d’Auseil was reached.

  I have never seen another street as narrow and steep as the Rue d’Auseil. It was almost a cliff, closed to all vehicles, consisting in several places of flights of steps, and ending at the top in a lofty ivied wall. Its paving was irregular, sometimes stone slabs, sometimes cobblestones, and sometimes bare earth with struggling greenish-grey vegetation. The houses were tall, peaked-roofed, incredibly old, and crazily leaning backward, forward, and sidewise. Occasionally an opposite pair, both leaning forward, almost met across the street like an arch; and certainly they kept most of the light from the ground below. There were a few overhead bridges from house to house across the street.

  The inhabitants of that street impressed me peculiarly. At first I thought it was because they were all silent and reticent; but later decided it was because they were all very old. I do not know how I came to live on such a street, but I was not myself when I moved there. I had been living in many poor places, always evicted for want of money; until at last I came upon that tottering house in the Rue d’Auseil kept by the paralytic Blandot. It was the third house from the top of the street, and by far the tallest of them all.

  My room was on the fifth story; the only inhabited room there, since the house was almost empty. On the night I arrived I heard strange music from the peaked garret overhead, and the next day asked old Blandot about it. He told me it was an old German viol-player, a strange dumb man who signed his name as Erich Zann, and who played evenings in a cheap theater orchestra; adding that Zann’s desire to play in the night after his return from the theater was the reason he had chosen this lofty and isolated garret room, whose single gable window was the only point on the street from which one could look over the terminating wall at the declivity and panorama beyond.

  Thereafter I heard Zann every night, and although he kept me awake, I was haunted by the weirdness of his music. Knowing little of the art myself, I was yet certain that none of his harmonies had any relation to music I had heard before; and concluded that he was a composer of highly original gen
ius. The longer I listened, the more I was fascinated, until after a week I resolved to make the old man’s acquaintance.

  One night as he was returning from his work, I intercepted Zann in the hallway and told him that I would like to know him and be with him when he played. He was a small, lean, bent person, with shabby clothes, blue eyes, grotesque, satyrlike face, and nearly bald head; and at my first words seemed both angered and frightened. My obvious friendliness, however, finally melted him; and he grudgingly motioned to me to follow him up the dark, creaking and rickety attic stairs. His room, one of only two in the steeply pitched garret, was on the west side, toward the high wall that formed the upper end of the street. Its size was very great, and seemed the greater because of its extraordinary barrenness and neglect. Of furniture there was only a narrow iron bedstead, a dingy wash-stand, a small table, a large bookcase, an iron music-rack, and three old-fashioned chairs. Sheets of music were piled in disorder about the floor. The walls were of bare boards, and had probably never known plaster; whilst the abundance of dust and cobwebs made the place seem more deserted than inhabited. Evidently Erich Zann’s world of beauty lay in some far cosmos of the imagination.

  Motioning me to sit down, the dumb man closed the door, turned the large wooden bolt, and lighted a candle to augment the one he had brought with him. He now removed his viol from its motheaten covering, and taking it, seated himself in the least uncomfortable of the chairs. He did not employ the music-rack, but, offering no choice and playing from memory, enchanted me for over an hour with strains I had never heard before; strains which must have been of his own devising. To describe their exact nature is impossible for one unversed in music. They were a kind of fugue, with recurrent passages of the most captivating quality, but to me were notable for the absence of any of the weird notes I had overheard from my room below on other occasions.

  Those haunting notes I had remembered, and had often hummed and whistled inaccurately to myself, so when the player at length laid down his bow I asked him if he would render some of them. As I began my request the wrinkled satyrlike face lost the bored placidity it had possessed during the playing, and seemed to show the same curious mixture of anger and fright which I had noticed when first I accosted the old man. For a moment I was inclined to use persuasion, regarding rather lightly the whims of senility; and even tried to awaken my host’s weirder mood by whistling a few of the strains to which I had listened the night before. But I did not pursue this course for more than a moment; for when the dumb musician recognized the whistled air his face grew suddenly distorted with an expression wholly beyond analysis, and his long, cold, bony right hand reached out to stop my mouth and silence the crude imitation. As he did this he further demonstrated his eccentricity by casting a startled glance toward the lone curtained window, as if fearful of some intruder—a glance doubly absurd, since the garret stood high and inaccessible above all the adjacent roofs, this window being the only point on the steep street, as the concierge had told me, from which one could see over the wall at the summit.

  The old man’s glance brought Blandot’s remark to my mind, and with a certain capriciousness I felt a wish to look out over the wide and dizzying panorama of moonlit roofs and city lights beyond the hilltop, which of all the dwellers in the Rue d’Auseil only this crabbed musician could see. I moved toward the window and would have drawn aside the nondescript curtains, when with a frightened rage even greater than before, the dumb lodger was upon me again; this time motioning with his head toward the door as he nervously strove to drag me thither with both hands. Now thoroughly disgusted with my host, I ordered him to release me, and told him I would go at once. His clutch relaxed, and as he saw my disgust and offense, his own anger seemed to subside. He tightened his relaxing grip, but this time in a friendly manner, forcing me into a chair; then with an appearance of wistfulness crossing to the littered table, where he wrote many words with a pencil, in the labored French of a foreigner.

  The note which he finally handed me was an appeal for tolerance and forgiveness. Zann said that he was old, lonely, and afflicted with strange fears and nervous disorders connected with his music and with other things. He had enjoyed my listening to his music, and wished I would come again and not mind his eccentricities. But he could not play to another his weird harmonies, and could not bear hearing them from another; nor could he bear having anything in his room touched by another. He had not known until our hallway conversation that I could overhear his playing in my room, and now asked me if I would arrange with Blandot to take a lower room where I could not hear him in the night. He would, he wrote, defray the difference in rent.

  As I sat deciphering the execrable French, I felt more lenient toward the old man. He was a victim of physical and nervous suffering, as was I; and my metaphysical studies had taught me kindness. In the silence there came a slight sound from the window—the shutter must have rattled in the night wind, and for some reason I started almost as violently as did Erich Zann. So when I had finished reading, I shook my host by the hand, and departed as a friend.

  The next day Blandot gave me a more expensive room on the third floor, between the apartments of an aged money-lender and the room of a respectable upholsterer. There was no one on the fourth floor.

  It was not long before I found that Zann’s eagerness for my company was not as great as it had seemed while he was persuading me to move down from the fifth story. He did not ask me to call on him, and when I did call he appeared uneasy and played listlessly. This was always at night—in the day he slept and would admit no one. My liking for him did not grow, though the attic room and the weird music seemed to hold an odd fascination for me. I had a curious desire to look out of that window, over the wall and down the unseen slope at the glittering roofs and spires which must lie outspread there. Once I went up to the garret during theater hours, when Zann was away, but the door was locked.

  What I did succeed in doing was to overhear the nocturnal playing of the dumb old man. At first I would tip-toe up to my old fifth floor, then I grew bold enough to climb the last creaking staircase to the peaked garret. There in the narrow hall, outside the bolted door with the covered keyhole, I often heard sounds which filled me with an indefinable dread—the dread of vague wonder and brooding mystery. It was not that the sounds were hideous, for they were not; but that they held vibrations suggesting nothing on this globe of earth, and that at certain intervals they assumed a symphonic quality which I could hardly conceive as produced by one player. Certainly, Erich Zann was a genius of wild power. As the weeks passed, the playing grew wilder, whilst the old musician acquired an increasing haggardness and furtiveness pitiful to behold. He now refused to admit me at any time, and shunned me whenever we met on the stairs.

  Then one night as I listened at the door, I heard the shrieking viol swell into a chaotic babel of sound; a pandemonium which would have led me to doubt my own shaking sanity had there not come from behind that barred portal a piteous proof that the horror was real—the awful, inarticulate cry which only a mute can utter, and which rises only in moments of the most terrible fear or anguish. I knocked repeatedly at the door, but received no response. Afterward I waited in the black hallway, shivering with cold and fear, till I heard the poor musician’s feeble effort to rise from the floor by the aid of a chair. Believing him just conscious after a fainting fit, I renewed my rapping, at the same time calling out my name reassuringly. I heard Zann stumble to the window and close both shutter and sash, then stumble to the door, which he falteringly unfastened to admit me. This time his delight at having me present was real; for his distorted face gleamed with relief while he clutched at my coat as a child clutches at its mother’s skirts.

  Shaking pathetically, the old man forced me into a chair whilst he sank into another, beside which his viol and bow lay carelessly on the floor. He sat for some time inactive, nodding oddly, but having a paradoxical suggestion of intense and frightened listening. Subsequently he seemed to be satisfied, and cro
ssing to a chair by the table wrote a brief note, handed it to me, and returned to the table, where he began to write rapidly and incessantly. The note implored me in the name of mercy, and for the sake of my own curiosity, to wait where I was while he prepared a full account in German of all the marvels and terrors which beset him. I waited, and the dumb man’s pencil flew.

  It was perhaps an hour later, while I still waited and while the old musician’s feverishly written sheets still continued to pile up, that I saw Zann start as from the hint of a horrible shock. Unmistakably he was looking at the curtained window and listening shudderingly. Then I half fancied I heard a sound myself; though it was not a horrible sound, but rather an exquisitely low and infinitely distant musical note, suggesting a player in one of the neighboring houses, or in some abode beyond the lofty wall over which I had never been able to look. Upon Zann the effect was terrible, for, dropping his pencil, suddenly he rose, seized his viol, and commenced to rend the night with the wildest playing I had ever heard from his bow save when listening at the barred door.

  It would be useless to describe the playing of Erich Zann on that dreadful night. It was more horrible than anything I had ever overheard, because I could now see the expression of his face, and could realize that this time the motive was stark fear. He was trying to make a noise; to ward something off or drown something out—what, I could not imagine, awesome though I felt it must be. The playing grew fantastic, delirious, and hysterical, yet kept to the last the qualities of supreme genius which I knew this strange old man possessed. I recognized the air—it was a wild Hungarian dance popular in the theaters, and I reflected for a moment that this was the first time I had ever heard Zann play the work of another composer.