Article #545-1 | Gutenberg Articles

Excerpt

Excerpt from At the Earth's Core, by Edgar Rice Burroughs

All about the village, between it and the jungle, lay beautifully
cultivated fields in which the Mezops raised such cereals, fruits, and
vegetables as they required. Women and children were working in these
gardens as we crossed toward the village. At sight of Ja they saluted
deferentially, but to me they paid not the slightest attention. Among
them and about the outer verge of the cultivated area were many
warriors. These too saluted Ja, by touching the points of their spears
to the ground directly before them.

Ja conducted me to a large house in the center of the village--the
house with eight rooms--and taking me up into it gave me food and
drink. There I met his mate, a comely girl with a nursing baby in her
arms. Ja told her of how I had saved his life, and she was thereafter
most kind and hospitable toward me, even permitting me to hold and
amuse the tiny bundle of humanity whom Ja told me would one day rule
the tribe, for Ja, it seemed, was the chief of the community.

We had eaten and rested, and I had slept, much to Ja's amusement, for
it seemed that he seldom if ever did so, and then the red man proposed
that I accompany him to the temple of the Mahars which lay not far from
his village. "We are not supposed to visit it," he said; "but the
great ones cannot hear and if we keep well out of sight they need never
know that we have been there. For my part I hate them and always have,
but the other chieftains of the island think it best that we continue
to maintain the amicable relations which exist between the two races;
otherwise I should like nothing better than to lead my warriors amongst
the hideous creatures and exterminate them--Pellucidar would be a
better place to live were there none of them."

Explanation

**Detailed Explanation of the Excerpt from At the Earth’s Core by Edgar Rice Burroughs**

Context of the Source

At the Earth’s Core (1914) is the first book in Edgar Rice Burroughs’ Pellucidar series, a subgenre of his broader adventure and science fiction works (which also include Tarzan and John Carter of Mars). The novel follows David Innes, a wealthy American explorer, and his eccentric inventor friend, Abner Perry, who build a mechanical mole called the "Iron Mole" and accidentally burrow into Pellucidar—a hollow world inside the Earth.

Pellucidar is a prehistoric-like realm inhabited by various humanoid and monstrous races, including the Mezops (a peaceful, dark-skinned tribe), the Mahars (a dominant, telepathic reptilian race that enslaves humans), and other strange creatures. The excerpt provided introduces the reader to Ja, a Mezop chieftain, and offers a glimpse into the social structure, tensions, and hidden conflicts of Pellucidar.

Themes in the Excerpt

Colonialism and Power Dynamics
- The Mezops are an agricultural society, living in harmony with their environment, while the Mahars (though not directly seen here) represent an oppressive, technologically advanced race that dominates others.
- Ja’s defiance ("I hate them and always have") suggests a resistance narrative, where the Mezops, though subjugated, maintain a quiet rebellion. This mirrors real-world colonial struggles where indigenous peoples resist dominant powers.
- The deferential salutes to Ja (spears touching the ground) reinforce a hierarchical society, where leadership is both respected and militarized.
Hospitality and Trust
- Ja’s treatment of the narrator (David Innes) reflects xenia (ancient Greek concept of guest-friendship). Despite being an outsider, Innes is fed, rested, and trusted with secrets (the forbidden temple visit).
- The warmth of Ja’s mate, who allows Innes to hold her baby, symbolizes trust and future alliance. The baby’s destined rule hints at dynastic continuity—Ja’s lineage will maintain leadership.
Defiance and Hidden Resistance
- Ja’s proposal to visit the Mahars’ temple ("We are not supposed to visit it") is an act of subversion. His hatred for the Mahars and his desire to "exterminate them" foreshadows future conflict.
- The line "the great ones cannot hear" suggests the Mahars’ omniscience is a lie—they are not all-powerful, and the Mezops exploit their weaknesses.
Cultural Contrasts: Sleep vs. Vigilance
- Ja’s amusement at Innes’ need for sleep ("he seldom if ever did so") highlights a biological or cultural difference between surface-dwellers (Innes) and Pellucidarians (Ja).
- This could imply:
  - Evolutionary adaptation (Pellucidar’s eternal daylight may have eliminated the need for sleep).
  - Military readiness (Ja, as a warrior, is always alert).
  - Symbolic vigilance (the Mezops must always be watchful against the Mahars).
Nature vs. Civilization
- The "beautifully cultivated fields" contrast with the "hideous" Mahars, reinforcing a Rousseauian noble savage ideal—the Mezops are pure, natural, and communal, while the Mahars represent unnatural domination.
- The temple, a symbol of the Mahars’ power, is forbidden, suggesting their civilization is built on secrets and control.

Literary Devices

Foreshadowing
- Ja’s hatred for the Mahars and his desire to "lead my warriors amongst them" hints at future rebellion, a major plot point in the novel.
- The baby’s future rule suggests political intrigue—will he continue his father’s defiance or submit to the Mahars?
Imagery & Sensory Details
- "Beautifully cultivated fields" → Evokes fertility, order, and peace (contrasts with the chaos of the jungle and the Mahars’ tyranny).
- "Hideous creatures" → Immediate visual and moral repulsion, framing the Mahars as monsters.
- "Tiny bundle of humanity" → Humanizes the Mezops, making their struggle more relatable.
Juxtaposition
- Mezops (peaceful, agricultural, familial) vs. Mahars (oppressive, reptilian, forbidden).
- Ja’s hospitality vs. his violent desires ("exterminate them").
Dramatic Irony
- The reader knows (or suspects) that the Mahars are powerful (telepathic, advanced), but Ja underestimates them ("the great ones cannot hear").
- His confidence may be his downfall—or a setup for later betrayal.
Symbolism
- The Temple = The Mahars’ false divinity (they are worshipped but are tyrants).
- The Spear Salute = Military discipline and loyalty to Ja, but also a warning—his people are warriors, not just farmers.
- The Baby = Hope for the future, but also a burden of leadership (will he repeat Ja’s defiance or seek peace?).

Significance of the Passage

World-Building
- Burroughs establishes Pellucidar’s social hierarchy: Mezops (subjugated but proud), Mahars (dominant but resented).
- The forbidden temple adds mystery—what secrets do the Mahars hide? (Later revealed: they are winged, telepathic, and breed humans as livestock.)
Character Development
- Ja is introduced as a noble but flawed leader—hospitable yet vengeful, protective but reckless.
- Innes is positioned as an outsider ally, earning trust through bravery (saving Ja’s life).
Plot Setup
- The temple visit will likely reveal crucial information about the Mahars, propelling the story forward.
- Ja’s defiance foreshadows rebellion, a key theme in the series.
Colonial & Racial Allegory
- The Mezops (dark-skinned, "primitive" but honorable) vs. the Mahars (reptilian, "advanced" but cruel) can be read as a critique of European colonialism.
- Burroughs, however, was not always progressive—his works often reflect early 20th-century racial stereotypes, though here the Mezops are portrayed sympathetically.
Adventure & Exploration Tropes
- The forbidden temple is a classic pulp adventure trope (see also Indiana Jones, Conan).
- The hidden resistance adds tension—will Ja’s defiance lead to war?

Line-by-Line Breakdown (Key Moments)

"All about the village, between it and the jungle, lay beautifully cultivated fields..."
- Setting: A pastoral, self-sufficient community, contrasting with the wild jungle (danger) and the Mahars’ temple (oppression).
- Women and children working → Communal labor, but also vulnerability (they are unarmed, unlike the warriors).
"At sight of Ja they saluted deferentially, but to me they paid not the slightest attention."
- Hierarchy: Ja is respected as chief; Innes is still an outsider.
- Cultural difference: The Mezops may not yet trust Innes, or they see him as beneath notice.
"Ja conducted me to a large house in the center of the village—the house with eight rooms..."
- Status symbol: The largest house = Ja’s chiefdom.
- "Eight rooms" → Luxury in a simple society (most Pellucidarian dwellings are likely smaller).
"There I met his mate, a comely girl with a nursing baby in her arms."
- Domestic warmth contrasts with the violent world outside.
- "Comely" → Subjective, but reinforces Ja’s strong, healthy lineage.
"Ja told her of how I had saved his life, and she was thereafter most kind and hospitable..."
- Debt of honor: Innes’ bravery earns trust.
- Baby as symbol: The future of the tribe is literally in Innes’ hands—will he protect or exploit them?
"We had eaten and rested, and I had slept, much to Ja's amusement..."
- Cultural clash: Ja’s lack of sleep suggests superhuman endurance or adaptation to Pellucidar’s 24-hour daylight.
- Humor: Lightens the tone before the dark turn (talk of the Mahars).
"We are not supposed to visit it; but the great ones cannot hear..."
- Rebellion: Ja knowingly breaks rules, showing disrespect for Mahar authority.
- Risk: If caught, the consequences could be severe (enslavement, death).
"I hate them and always have, but the other chieftains... think it best that we continue to maintain amicable relations..."
- Political tension: Ja is a hawk; other chiefs are doves.
- Foreshadowing: This divide may lead to internal conflict among the Mezops.
"Pellucidar would be a better place to live were there none of them."
- Utopian ideal: A world without the Mahars = freedom.
- Genocidal undertone: Ja’s hatred is absolute, suggesting the Mahars are irredeemable.

Conclusion: Why This Passage Matters

This excerpt is pivotal because it:

Introduces key conflicts (Mezops vs. Mahars, tradition vs. rebellion).
Develops Ja as a complex leader—noble but potentially reckless.
Sets up the temple visit as a turning point in the story.
Reinforces Burroughs’ themes of exploration, resistance, and cultural clash.

From a literary perspective, the passage blends adventure, political intrigue, and world-building while using classic pulp techniques (fast pacing, vivid imagery, moral clarity). However, it also reflects the racial and colonial attitudes of its time, making it a fascinating (if problematic) artifact of early 20th-century science fiction.

Would you like a deeper dive into any specific aspect (e.g., Burroughs’ influences, comparisons to Tarzan, or the Mahars’ role in the series)?

Questions

Question 1

The narrator’s observation that the Mezop women and children “paid not the slightest attention” to him, in contrast to their deference toward Ja, primarily serves to:

A. Highlight the Mezops’ distrust of outsiders as a survival mechanism in a hostile world.
B. Establish the narrator’s liminal status as neither fully accepted nor outright rejected by the community.
C. Underscore Ja’s unique authority as the sole figure capable of bridging cultural divides.
D. Foreshadow the narrator’s eventual betrayal by the Mezops once his usefulness expires.
E. Critique the Mezops’ rigid social hierarchy as an obstacle to progress and cooperation.

Question 2

Ja’s amusement at the narrator’s need for sleep is most effectively interpreted as:

A. A subtle assertion of Pellucidarian biological superiority, framing the narrator’s fatigue as a weakness of surface-dwellers.
B. A moment of cultural exchange that humanizes Ja by revealing his capacity for lightheartedness.
C. An indirect warning that the narrator’s habits may render him vulnerable in Pellucidar’s perpetual daylight.
D. A narrative device to emphasize the unbridgeable gap between the protagonist’s world and Pellucidar’s realities.
E. A metaphor for the Mezops’ collective denial of their own exhaustion under Mahar oppression.

Question 3

The phrase “the great ones cannot hear” functions primarily as:

A. A literal assertion of the Mahars’ sensory limitations, exposing their physical vulnerabilities.
B. An example of Ja’s overconfidence, hinting at his potential underestimation of the Mahars’ power.
C. A metaphor for the Mezops’ spiritual resistance to the Mahars’ telepathic control.
D. A narrative red herring, designed to mislead the reader about the Mahars’ true capabilities.
E. An act of performative defiance, reinforcing Ja’s role as a subversive leader while acknowledging the risk of discovery.

Question 4

The baby’s symbolic role in the passage is most accurately described as representing:

A. The fragility of Mezop culture in the face of Mahar domination.
B. Ja’s personal vulnerability, contrasting with his public persona as a warrior.
C. A propagandistic tool to legitimize Ja’s rule through dynastic continuity.
D. The narrator’s potential future allegiance to the Mezops, foreshadowing his adoption into the tribe.
E. The tension between hope and burden, embodying both the tribe’s future and the weight of inherited conflict.

Question 5

The passage’s depiction of the Mezops’ agricultural labor and the warriors’ spear salutes collectively suggests:

A. A society on the brink of collapse, clinging to outdated rituals as the Mahars tighten their grip.
B. A deliberate contrast between feminine passivity and masculine aggression, reinforcing gender norms.
C. The Mezops’ strategic division of labor, where women and children are shielded from the violence of resistance.
D. An idealized pastoralism, masking the underlying brutality required to maintain their way of life.
E. A performative display of order and discipline, designed to conceal the tribe’s internal dissent and Ja’s radical intentions.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: The narrator’s liminal status—neither fully integrated nor rejected—is the most textually supported interpretation. The Mezops’ indifference to him (contrasted with their deference to Ja) positions him as an outsider tolerated only through Ja’s patronage, a state of provisional acceptance that drives the narrative tension. This aligns with the passage’s focus on cultural boundaries and the narrator’s role as an intermediary figure.