Gutenberg Articles

Appearance

Excerpt ​

Excerpt from The Moon Pool, by Abraham Merritt

"And now, Walter, for the better understanding of what
follows--and--and--" he hesitated. "Should you decide later to return
with me or, if I am taken, to--to--follow us--listen carefully to my
description of this place: Nan-Tauach is literally three rectangles.
The first rectangle is the sea-wall, built up of monoliths--hewn and
squared, twenty feet wide at the top. To get to the gateway in the
sea-wall you pass along the canal marked on the map between Nan-Tauach
and the islet named Tau. The entrance to the canal is bidden by dense
thickets of mangroves; once through these the way is clear. The steps
lead up from the landing of the sea-gate through the entrance to the
courtyard.

"This courtyard is surrounded by another basalt wall, rectangular,
following with mathematical exactness the march of the outer
barricades. The sea-wall is from thirty to forty feet high--originally
it must have been much higher, but there has been subsidence in parts.
The wall of the first enclosure is fifteen feet across the top and its
height varies from twenty to fifty feet--here, too, the gradual
sinking of the land has caused portions of it to fall.

"Within this courtyard is the second enclosure. Its terrace, of the
same basalt as the outer walls, is about twenty feet high. Entrance is
gained to it by many breaches which time has made in its stonework.
This is the inner court, the heart of Nan-Tauach! There lies the great
central vault with which is associated the one name of living being
that has come to us out of the mists of the past. The natives say it
was the treasure-house of Chau-te-leur, a mighty king who reigned long
'before their fathers.' As Chan is the ancient Ponapean word both for
sun and king, the name means, without doubt, 'place of the sun king.'
It is a memory of a dynastic name of the race that ruled the Pacific
continent, now vanished--just as the rulers of ancient Crete took the
name of Minos and the rulers of Egypt the name of Pharaoh.

Explanation ​

Detailed Explanation of the Excerpt from The Moon Pool by Abraham Merritt ​

Context of the Source ​

Abraham Merritt’s The Moon Pool (1918) is a classic work of weird fiction and lost-world adventure, blending elements of fantasy, horror, and archaeological mystery. The novel follows Dr. Walter Goodwin, who investigates the disappearance of his friend, Dr. David Throckmartin, after the latter discovers a hidden, ancient city in the South Pacific. The excerpt provided is part of Throckmartin’s detailed description of Nan-Tauach, a ruined, cyclopean city linked to a lost civilization—possibly a remnant of the mythical Pacific continent of Mu or Lemuria.

Merritt’s work was influenced by H.P. Lovecraft’s cosmic horror (though predating much of Lovecraft’s major output) and Edgar Rice Burroughs’ adventure tales, as well as theosophical and occult theories about lost civilizations. The novel explores themes of forbidden knowledge, ancient evil, and the hubris of human exploration.

Breakdown of the Excerpt ​

1. Structure and Purpose of the Description ​

The passage is expository yet ominous, serving multiple functions:

  • Cartographic Precision: Throckmartin provides a meticulously detailed architectural layout of Nan-Tauach, almost like a blueprint or archaeological report. This lends credibility to the existence of the place while also hinting at its unnatural, cyclopean nature (a trope later perfected by Lovecraft).
  • Foreshadowing Danger: The description is not just informative—it is a warning. The hesitations ("Should you decide later to return with me or, if I am taken, to—to—follow us") suggest that Throckmartin anticipates his own disappearance or capture, reinforcing the sinister atmosphere of the ruins.
  • Mystery and Antiquity: The passage builds intrigue by describing a place that is both ancient and alien, with a history stretching back to a prehuman civilization.

2. The Architecture of Nan-Tauach: A Symbol of Lost Grandeur ​

The city is structured in three concentric rectangles, each with increasing significance:

  • First Rectangle: The Sea-Wall

    • Construction: Made of monoliths (massive single stones), hewn and squared with unnatural precision (suggesting either advanced ancient technology or non-human builders).
    • Height: Originally much taller, now partially sunken due to geological shifts—implying great age and decay.
    • Access: Hidden by mangrove thickets, reinforcing the idea that Nan-Tauach is deliberately concealed, perhaps to ward off intruders.

  • Second Rectangle: The First Enclosure (Courtyard)

    • Walls: Another basalt barrier, 15 feet thick and up to 50 feet high, again showing cyclopean engineering.
    • State of Decay: Portions have collapsed due to subsidence, hinting at cataclysmic events (possibly the sinking of the Pacific continent).

  • Third Rectangle: The Inner Court (Heart of Nan-Tauach)

    • Terrace: A 20-foot-high platform, accessed through breaches caused by time—suggesting that the place was once sealed, now forcibly opened.
    • The Central Vault: The most crucial structure, associated with Chau-te-leur ("Place of the Sun King"), a ruler of a lost dynasty that once dominated the Pacific.

3. Themes in the Passage ​

  • The Weight of Ancient History

    • Nan-Tauach is a relic of a forgotten empire, much like Egypt’s pharaohs or Crete’s King Minos. The name Chau-te-leur (derived from Chan, meaning both "sun" and "king") suggests a solar cult or divine monarchy, common in mythological lost civilizations.
    • The subsidence and decay of the walls imply that this civilization fell due to natural disasters, possibly the sinking of Mu (a theorized lost continent).

  • The Danger of Forbidden Knowledge

    • Throckmartin’s hesitant, urgent tone ("if I am taken, to—to—follow us") suggests that something in Nan-Tauach is still active, possibly guarding its secrets.
    • The mathematical precision of the ruins contrasts with their ruined state, implying that humanity is not meant to understand or disturb this place.

  • The Uncanny and the Sublime

    • The sheer scale of the monoliths (20 feet wide, 50 feet high) evokes the sublime—a sense of awe mixed with terror at something beyond human comprehension.
    • The hidden entrance (mangrove thickets) and collapsed breaches suggest that the city does not want to be found.

4. Literary Devices ​

  • Foreshadowing

    • Throckmartin’s broken speech ("to—to—follow us") hints at his future fate—he will be taken, and Goodwin may have to follow.
    • The description of the vault (the "heart" of Nan-Tauach) suggests that something is still alive there, possibly a guardian, a curse, or an eldritch entity.

  • Imagery of Decay and Grandeur

    • The contrasting images of mathematical perfection (rectangles, exact measurements) and ruin (subsidence, collapsed walls) create a haunting atmosphere.
    • The basalt monoliths (volcanic rock) may symbolize both durability and destruction—fitting for a lost civilization.

  • Mythological Allusions

    • The comparison to Minos (Crete) and Pharaoh (Egypt) places Nan-Tauach in a legendary context, suggesting it was once part of a global network of ancient rulers.
    • The sun king motif ties into solar worship, a common theme in lost civilization myths (e.g., Atlantis, Mu).

  • Unreliable Narration (Subtle)

    • Throckmartin’s obsessive detail may indicate madness or possession—a trope in weird fiction where knowledge drives men insane (see Lovecraft’s The Call of Cthulhu).

5. Significance in the Novel and Beyond ​

  • Within The Moon Pool

    • This passage sets up the central mystery: What happened to Throckmartin? What lies in the central vault?
    • The concentric rectangles may symbolize layers of reality or consciousness, a theme Merritt explores as Goodwin delves deeper into the ruins.
    • The Sun King’s treasure-house is later revealed to be something far more sinister—possibly a gateway to another dimension or a prison for an ancient evil.

  • In Weird Fiction & Lost World Tropes

    • Merritt’s description predates and influences later works like Lovecraft’s At the Mountains of Madness (1936), where cyclopean ruins of a prehuman civilization are discovered in Antarctica.
    • The idea of a lost Pacific continent (Mu or Lemuria) was popular in early 20th-century occult and pseudo-archaeological circles, and Merritt blends fact and fiction to create a plausible yet terrifying setting.
    • The treasure-house that is not a treasure is a recurring motif in weird fiction—what seems like wealth or knowledge is often a trap or curse.

Conclusion: Why This Passage Matters ​

This excerpt is more than just world-building—it is a masterclass in slow-burn horror. By describing Nan-Tauach in cold, architectural terms, Merritt makes the ruins feel real, yet the hesitations, the decay, and the hidden dangers infuse the place with dread. The reader is left with questions:

  • Who built this place?
  • Why was it abandoned?
  • What still lurks in the central vault?

The passage sets the stage for cosmic horror, where the past is not dead, but waiting. It’s a warning in the guise of a travelogue, and that duality is what makes it so unsettling and effective.

Would you like a deeper analysis of how this connects to Lovecraftian themes or real-world lost continent theories?