Dagon


"Perhaps I should not hope to convey in mere words the unutterable hideousness that can dwell in absolute silence and barren immensity."
Author H. P. Lovecraft

I am writing this under an appreciable mental strain, since by tonight I shall be no more. Penniless, and at the end of my supply of the drug which alone, makes life endurable, I can bear the torture no longer; and shall cast myself from this garret window into the squalid street below. Do not think from my slavery to morphine that I am a weakling or a degenerate. When you have read these hastily scrawled pages you may guess, though never fully realise, why it is that I must have forgetfulness or death.

Willly Stower, German U-21 sinking Linda Blanche, 1915 It was in one of the most open and least frequented parts of the broad Pacific that the packet of which I was supercargo fell a victim to the German sea-raider. The great war was then at its very beginning, and the ocean forces of the Hun had not completely sunk to their later degradation; so that our vessel was made a legitimate prize, whilst we of her crew were treated with all the fairness and consideration due us as naval prisoners. So liberal, indeed, was the discipline of our captors, that five days after we were taken I managed to escape alone in a small boat with water and provisions for a good length of time.

When I finally found myself adrift and free, I had but little idea of my surroundings. Never a competent navigator, I could only guess vaguely by the sun and stars that I was somewhat south of the equator. Of the longitude I knew nothing, and no island or coastline was in sight. The weather kept fair, and for uncounted days I drifted aimlessly beneath the scorching sun; waiting either for some passing ship, or to be cast on the shores of some habitable land. But neither ship nor land appeared, and I began to despair in my solitude upon the heaving vastness of unbroken blue.

The change happened whilst I slept. Its details I shall never know; for my slumber, though troubled and dream-infested, was continuous. When at last I awakened, it was to discover myself half sucked into a slimy expanse of hellish black mire which extended about me in monotonous undulations as far as I could see, and in which my boat lay grounded some distance away.

Though one might well imagine that my first sensation would be of wonder at so prodigious and unexpected a transformation of scenery, I was in reality more horrified than astonished; for there was in the air and in the rotting soil a sinister quality which chilled me to the very core. The region was putrid with the carcasses of decaying fish, and of other less describable things which I saw protruding from the nasty mud of the unending plain. Perhaps I should not hope to convey in mere words the unutterable hideousness that can dwell in absolute silence and barren immensity. There was nothing within hearing, and nothing in sight save a vast reach of black slime; yet the very completeness of the stillness and the homogeneity of the landscape oppressed me with a nauseating fear.

The sun was blazing down from a sky which seemed to me almost black in its cloudless cruelty; as though reflecting the inky marsh beneath my feet. As I crawled into the stranded boat I realised that only one theory could explain my position. Through some unprecedented volcanic upheaval, a portion of the ocean floor must have been thrown to the surface, exposing regions which for innumerable millions of years had lain hidden under unfathomable watery depths. So great was the extent of the new land which had risen beneath me, that I could not detect the faintest noise of the surging ocean, strain my ears as I might. Nor were there any sea-fowl to prey upon the dead things.

For several hours I sat thinking or brooding in the boat, which lay upon its side and afforded a slight shade as the sun moved across the heavens. As the day progressed, the ground lost some of its stickiness, and seemed likely to dry sufficiently for travelling purposes in a short time. That night I slept but little, and the next day I made for myself a pack containing food and water, preparatory to an overland journey in search of the vanished sea and possible rescue.

On the third morning I found the soil dry enough to walk upon with ease. The odour of the fish was maddening; but I was too much concerned with graver things to mind so slight an evil, and set out boldly for an unknown goal. All day I forged steadily westward, guided by a far-away hummock which rose higher than any other elevation on the rolling desert. That night I encamped, and on the following day still travelled toward the hummock, though that object seemed scarcely nearer than when I had first espied it. By the fourth evening I attained the base of the mound, which turned out to be much higher than it had appeared from a distance, an intervening valley setting it out in sharper relief from the general surface. Too weary to ascend, I slept in the shadow of the hill.

I know not why my dreams were so wild that night; but ere the waning and fantastically gibbous moon had risen far above the eastern plain, I was awake in a cold perspiration, determined to sleep no more. Such visions as I had experienced were too much for me to endure again. And in the glow of the moon I saw how unwise I had been to travel by day. Without the glare of the parching sun, my journey would have cost me less energy; indeed, I now felt quite able to perform the ascent which had deterred me at sunset. Picking up my pack, I started for the crest of the eminence.

I have said that the unbroken monotony of the rolling plain was a source of vague horror to me; but I think my horror was greater when I gained the summit of the mound and looked down the other side into an immeasurable pit or canyon, whose black recesses the moon had not yet soared high enough to illumine. I felt myself on the edge of the world, peering over the rim into a fathomless chaos of eternal night. Through my terror ran curious reminiscences of Paradise Lost, and Satan's hideous climb through the unfashioned realms of darkness.

As the moon climbed higher in the sky, I began to see that the slopes of the valley were not quite so perpendicular as I had imagined. Ledges and outcroppings of rock afforded fairly easy footholds for a descent, whilst after a drop of a few hundred feet, the declivity became very gradual. Urged on by an impulse which I cannot definitely analyse, I scrambled with difficulty down the rocks and stood on the gentler slope beneath, gazing into the Stygian deeps where no light had yet penetrated.

All at once my attention was captured by a vast and singular object on the opposite slope, which rose steeply about a hundred yards ahead of me; an object that gleamed whitely in the newly bestowed rays of the ascending moon. That it was merely a gigantic piece of stone, I soon assured myself; but I was conscious of a distinct impression that its contour and position were not altogether the work of Nature. A closer scrutiny filled me with sensations I cannot express; for despite its enormous magnitude, and its position in an abyss which had yawned at the bottom of the sea since the world was young, I perceived beyond a doubt that the strange object was a well-shaped monolith whose massive bulk had known the workmanship and perhaps the worship of living and thinking creatures.

Dazed and frightened, yet not without a certain thrill of the scientist's or archaeologist's delight, I examined my surroundings more closely. The moon, now near the zenith, shone weirdly and vividly above the towering steeps that hemmed in the chasm, and revealed the fact that a far-flung body of water flowed at the bottom, winding out of sight in both directions, and almost lapping my feet as I stood on the slope. Across the chasm, the wavelets washed the base of the Cyclopean monolith, on whose surface I could now trace both inscriptions and crude sculptures. The writing was in a system of hieroglyphics unknown to me, and unlike anything I had ever seen in books, consisting for the most part of conventionalised aquatic symbols such as fishes, eels, octopi, crustaceans, molluscs, whales and the like. Several characters obviously represented marine things which are unknown to the modern world, but whose decomposing forms I had observed on the ocean-risen plain.

It was the pictorial carving, however, that did most to hold me spellbound. Plainly visible across the intervening water on account of their enormous size was an array of bas-reliefs whose subjects would have excited the envy of a Dore. I think that these things were supposed to depict men -- at least, a certain sort of men; though the creatures were shown disporting like fishes in the waters of some marine grotto, or paying homage at some monolithic shrine which appeared to be under the waves as well. Of their faces and forms I dare not speak in detail, for the mere remembrance makes me grow faint. Grotesque beyond the imagination of a Poe or a Bulwer, they were damnably human in general outline despite webbed hands and feet, shockingly wide and flabby lips, glassy, bulging eyes, and other features less pleasant to recall. Curiously enough, they seemed to have been chiselled badly out of proportion with their scenic background; for one of the creatures was shown in the act of killing a whale represented as but little larger than himself. I remarked, as I say, their grotesqueness and strange size; but in a moment decided that they were merely the imaginary gods of some primitive fishing or seafaring tribe; some tribe whose last descendant had perished eras before the first ancestor of the Piltdown or Neanderthal Man was born. Awestruck at this unexpected glimpse into a past beyond the conception of the most daring anthropologist, I stood musing whilst the moon cast queer reflections on the silent channel before me.

Then suddenly I saw it. With only a slight churning to mark its rise to the surface, the thing slid into view above the dark waters. Vast, Polyphemus-like, and loathsome, it darted like a stupendous monster of nightmares to the monolith, about which it flung its gigantic scaly arms, the while it bowed its hideous head and gave vent to certain measured sounds. I think I went mad then.

Of my frantic ascent of the slope and cliff, and of my delirious journey back to the stranded boat, I remember little. I believe I sang a great deal, and laughed oddly when I was unable to sing. I have indistinct recollections of a great storm some time after I reached the boat; at any rate, I knew that I heard peals of thunder and other tones which Nature utters only in her wildest moods.

When I came out of the shadows I was in a San Francisco hospital; brought thither by the captain of the American ship which had picked up my boat in mid-ocean. In my delirium I had said much, but found that my words had been given scant attention. Of any land upheaval in the Pacific, my rescuers knew nothing; nor did I deem it necessary to insist upon a thing which I knew they could not believe. Once I sought out a celebrated ethnologist, and amused him with peculiar questions regarding the ancient Philistine legend of Dagon, the Fish-God; but soon perceiving that he was hopelessly conventional, I did not press my inquiries.

It is at night, especially when the moon is gibbous and waning, that I see the thing. I tried morphine; but the drug has given only transient surcease, and has drawn me into its clutches as a hopeless slave. So now I am to end it all, having written a full account for the information or the contemptuous amusement of my fellow-men. Often I ask myself if it could not all have been a pure phantasm -- a mere freak of fever as I lay sun-stricken and raving in the open boat after my escape from the German man-of-war. This I ask myself, but ever does there come before me a hideously vivid vision in reply. I cannot think of the deep sea without shuddering at the nameless things that may at this very moment be crawling and floundering on its slimy bed, worshipping their ancient stone idols and carving their own detestable likenesses on submarine obelisks of water-soaked granite. I dream of a day when they may rise above the billows to drag down in their reeking talons the remnants of puny, war-exhausted mankind -- of a day when the land shall sink, and the dark ocean floor shall ascend amidst universal pandemonium.

The end is near. I hear a noise at the door, as of some immense slippery body lumbering against it. It shall not find me. God, that hand! The window! The window!


You may be interested in reading other stories about surviving the Great War in our collection, World War I Literature.


Frequently Asked Questions about Dagon

What is "Dagon" by H.P. Lovecraft about?

Dagon is a short story by Lovecraft written as the suicide note of a morphine-addicted former sailor. During World War I, the unnamed narrator escapes from a German sea-raider in the Pacific Ocean, only to awaken stranded on a vast expanse of black mire that has risen from the ocean floor through volcanic upheaval. He discovers a massive carved monolith covered in aquatic hieroglyphics and bas-reliefs depicting grotesque fish-like humanoid creatures. The narrator then witnesses a colossal, tentacled entity rise from the water and embrace the monolith in apparent worship. This encounter with the incomprehensible shatters his sanity, driving him to morphine addiction and ultimately to suicide as the final escape from the cosmic horror he can never forget.

What are the main themes in Lovecraft's "Dagon"?

The central themes of Dagon include cosmic horror, the terror of forbidden knowledge, and the insignificance of humanity. Lovecraft presents the idea that the universe harbors ancient, powerful entities whose mere existence renders human civilization meaningless. The story also explores the theme of dangerous knowledge — the narrator's discovery of an ancient pre-human civilization and its living deity destroys his ability to function in normal society. Additionally, the story addresses isolation and hopelessness, as the narrator is utterly alone during his ordeal and finds no one who believes his account, driving him deeper into despair and addiction.

Who or what is Dagon in Lovecraft's story?

In Lovecraft's story, Dagon is the name the narrator assigns to the gigantic sea creature he witnesses worshipping the monolith. The name comes from the ancient Philistine deity Dagon, a fish-god mentioned in the Bible and ancient Semitic mythology. The narrator makes this connection after consulting an ethnologist about "the ancient Philistine legend of Dagon, the Fish-God." In the broader Cthulhu Mythos that Lovecraft developed in later works, Dagon became associated with the Deep Ones — an amphibious race of fish-like humanoids — and is sometimes classified as a Great Old One or as the leader of the Deep Ones' worship.

What is the significance of the monolith in "Dagon"?

The Cyclopean monolith the narrator discovers is the story's central symbol and the source of its horror. Rising from an abyss "which had yawned at the bottom of the sea since the world was young," it is covered in unknown hieroglyphics featuring aquatic symbols and bas-reliefs depicting fish-like humanoid creatures killing whales and worshipping at underwater shrines. The monolith represents irrefutable proof of a pre-human civilization of staggering antiquity and sophistication — one that thrived on the ocean floor long before the earliest human ancestors existed. Its existence shatters the narrator's anthropocentric worldview and suggests that humanity is merely a recent, insignificant chapter in Earth's true history.

How does "Dagon" connect to the Cthulhu Mythos?

Dagon is widely considered the first story in what became the Cthulhu Mythos, Lovecraft's interconnected fictional universe of cosmic horror. Written in 1917, it introduces several elements that would recur throughout his later works: the volcanic upheaval that temporarily exposes sunken horrors reappears in The Call of Cthulhu (1926), the fish-like humanoid creatures foreshadow the Deep Ones of The Shadow Over Innsmouth (1931), and the ancient submarine monolith anticipates the sunken city of R'lyeh. Dagon himself is referenced in later Mythos stories as an entity worshipped by the Deep Ones, making this short tale the foundational seed of Lovecraft's most celebrated literary creation.

When was "Dagon" written and published?

Lovecraft wrote Dagon in July 1917, making it one of his earliest mature works. It was first published in The Vagrant No. 11 in November 1919, an amateur press journal edited by W. Paul Cook, who had encouraged Lovecraft to resume fiction writing after reading his earlier juvenilia. The story gained wider exposure when it appeared in Weird Tales in October 1923, becoming the first Lovecraft story published in that iconic pulp magazine. This publication in Weird Tales marked the beginning of Lovecraft's professional writing career and introduced his cosmic horror to a much broader audience.

What literary devices does Lovecraft use in "Dagon"?

Lovecraft employs several distinctive literary devices in Dagon. The story uses a framing device — it opens as a suicide note, creating immediate tension as the reader knows the narrator's fate before learning its cause. Lovecraft relies heavily on strategic vagueness, describing things as "less describable" or beyond the power of words to convey, forcing the reader's imagination to fill in the horror. The prose is rich with classical allusions, referencing Milton's Paradise Lost, the Cyclopes of Greek mythology ("Cyclopean monolith"), and Polyphemus. Lovecraft also uses sensory imagery — particularly the stench of decaying fish and the viscous black mire — to create an atmosphere of primal revulsion that amplifies the cosmic dread.

Why does the narrator in "Dagon" become addicted to morphine?

The narrator turns to morphine as the only means of escaping the psychological torment caused by his encounter with the sea creature and the monolith. After being rescued and returned to San Francisco, he finds that no one believes his account of what he witnessed. The memory of the vast, loathsome entity embracing the monolith haunts him relentlessly, especially at night "when the moon is gibbous and waning." Unable to forget what he saw, and unable to convince anyone of its reality, the narrator seeks chemical oblivion through morphine. However, the drug provides only "transient surcease" and ultimately traps him in addiction, leaving suicide as his final escape from the unbearable knowledge that ancient horrors lurk beneath the ocean.

What does the ending of "Dagon" mean?

The ending of Dagon is deliberately ambiguous and deeply unsettling. As the narrator prepares to throw himself from his garret window, he hears "a noise at the door, as of some immense slippery body lumbering against it" and cries out about a monstrous hand before his account abruptly ends. This suggests that the horror has followed him from the ocean to his urban dwelling, transforming his experience from a possibly delusional episode into confirmed supernatural reality. The ending reinforces Lovecraft's theme that there is no true escape from cosmic horror — neither morphine, nor geography, nor even death by suicide can save the narrator, because the ancient entities are not confined to the deep sea but can reach into the human world at will.

What is the symbolism of the sea in "Dagon"?

The sea in Dagon functions as a powerful symbol on multiple levels. For Lovecraft, the ocean represented an alien realm harboring unknowable threats — a vast, dark territory fundamentally hostile to human life and comprehension. The ocean floor, hidden for "innumerable millions of years," symbolizes the buried truths of a pre-human world that humanity was never meant to discover. The volcanic upheaval that exposes the seabed serves as a metaphor for the involuntary revelation of forbidden knowledge — just as the land rises unbidden, the narrator stumbles upon cosmic truths he never sought. The sea also represents the boundary between the known and the unknowable, and the story suggests that this boundary is far more fragile than humanity realizes.

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