| "The Rats in the Walls" | |
|---|---|
| Short story by H. P. Lovecraft | |
 | |
 Text available at Wikisource | |
| Country | United States |
| Language | English |
| Genre(s) | Horror, adventure |
| Publication | |
| Published in | Weird Tales |
| Media type | Print (magazine) |
| Publication date | March, 1924 |
"The Rats in the Walls" is a short story by American author H. P. Lovecraft. Written in August–September 1923, it was first published in Weird Tales, March 1924.[1]
In 1923,[2] an American named Delapore, the last descendant of the De la Poer family, moves to his ancestral estate of Exham Priory in England following the death of his only son during World War I. To the dismay of nearby residents, he restores the estate. After moving in, Delapore and his cat frequently hear the sounds of rats scurrying behind the walls. Upon investigating further with the assistance of his son's war comrade Edward Norrys and several academics, and through recurring dreams, Delapore learns that his family maintained an underground city for centuries, where they raised generations of "human cattle"—some regressed to a quadrupedal state—to supply their taste for human flesh. This was stopped when Delapore's ancestor Walter killed his entire family in their sleep and left the country in order to end the horror, leaving the remaining human livestock and a surviving relative to be devoured by the rats inhabiting the city's cesspits.
Maddened by the revelations of his family's past, a hereditary cruelty, and his anger over his son's death, Delapore attacks Norrys in the dark of the cavernous city and begins eating him while rambling in a mixture of Middle English, Latin, and Gaelic, before devolving into a cacophony of animalistic grunts. He is subsequently subdued and placed in a mental institution. At least one other investigator, Thornton, has gone insane as well. Soon after, Exham Priory is destroyed and the investigators decide to cover up the existence of the underground city. Delapore maintains his innocence, proclaiming that it was "the rats, the rats in the walls", who ate the man. He continues to be plagued by the sound of rats in the walls of his cell.
Long after writing "The Rats in the Walls", Lovecraft wrote that the story was "suggested by a very commonplace incident—the cracking of wall-paper late at night, and the chain of imaginings resulting from it."[7] Another entry in Lovecraft's commonplace book also seems to provide a plot germ for the story: "Horrible secret in crypt of ancient castle—discovered by dweller."[8]
Steven J. Mariconda points to Sabine Baring-Gould's Curious Myths of the Middle Ages (1862–68) as a source for Lovecraft's story. The description of the cavern under the priory has many similarities to Baring-Gould's account of St. Patrick's Purgatory, a legendary Irish holy site, and the story of the priory's rats sweeping across the landscape may have been inspired by the book's retelling of the legend of Bishop Hatto, who was devoured by rats after he set fire to starving peasants during a famine (a story referenced in the legend of the Mouse Tower of Bingen).[9]
Leigh Blackmore has posited that one surface feature of the story may be found in Edgar Allan Poe's "The Fall of the House of Usher", in which Roderick Usher comments that so abnormally sensitive is his hearing that he "can hear the rats in the walls".[10]
The Gaelic quoted at the end of the story is borrowed from Fiona Macleod's "The Sin-Eater". Macleod included a footnote that translated the passage as: "God against thee and in thy face… and may a death of woe be yours… Evil and sorrow to thee and thine!" Lovecraft wrote to Frank Belknap Long, "[T]he only objection to the phrase is that it's Gaelic instead of Cymric as the south-of-England locale demands. But as with anthropology—details don't count. Nobody will ever stop to note the difference." Robert E. Howard, however, wrote a letter in 1930 to Weird Tales suggesting that the language choice reflected "Lluyd's theory as to the settling of Britain by the Celts"—a note that, passed on to Lovecraft, initiated their voluminous correspondence.[11] The Cymric-speaking area at that time covered not only Wales, but all of the island below Hadrian's Wall, with Gaelic only being spoken north of the Wall.
S. T. Joshi points to Irvin S. Cobb's "The Unbroken Chain" as a model for Lovecraft's "The Rats in the Walls".[12] In his essay, Lovecraft writes, "Later work of Mr. Cobb introduces an element of possible science, as in the tale of hereditary memory where a modern man with a negroid strain utters words in African jungle speech when run down by a train under visual and aural circumstances recalling the maiming of his black ancestor by a rhinoceros a century before."
"The Rats in the Walls" is loosely connected to Lovecraft's Cthulhu Mythos stories; toward the end, the narrator notes that the rats seem "determined to lead me on even unto those grinning caverns of earth's centre where Nyarlathotep, the mad faceless god, howls blindly to the piping of two amorphous idiot flute-players." In this reference to Nyarlathotep, the first after his introduction in the prose poem of the same name, the entity seems to have many of the attributes of the god Azathoth.
Before moving to Exham Priory, Delapore lives in Bolton, Massachusetts, a factory town where the title character of "Herbert West–Reanimator" performs some of his experiments. The town is also mentioned in "The Colour Out of Space"; it is not thought to be the same place as the real-world Bolton, Massachusetts.[13]
Later Mythos writers have suggested the Magna Mater ("Great Mother") worshipped by the Exham cult was Shub-Niggurath (though in the story itself multiple references are made to Roman goddess Cybele, known as Magna Mater).
Lady Margaret Trevor of Cornwall (mentioned in "Characters" above), the Elizabeth Bathory-like noblewoman who wed a scion of the De La Poer family in the fourteenth or fifteenth century, was apparently a direct ancestor of the narrator in another Lovecraft story, "Celephaïs". The narrator of "Celephaïs," who is the last of a noble family that lived in an ancestral manor for thirteen generations at the coast on the other side of the Surrey downs from London, perishes in the story by drowning at the foot of a sea cliff below his ancestral home, which is named Trevor Towers. Thus, the narrator's name was Trevor, and his family would have been nobility at the time of Lady Margaret's marriage. (After the narrator of "Celephaïs" dies in the story, his dream-self lived on in the Dream-World, where he ruled a city and had the name Kuranes, and appears as a character in yet another Lovecraft work, "The Dream-Quest of Unknown Kadath", where it is confirmed that his ancestral home was on the coast of Cornwall.)
The story was rejected by Argosy All-Story Weekly before being accepted by Weird Tales; Lovecraft claimed that the former magazine found it "too horrible for the tender sensibilities of a delicately nurtured publick".[14] The publisher of Weird Tales, JC Henneberger, described the story in a note to Lovecraft as the best his magazine had ever received.[15] It was one of the few Lovecraft stories anthologized during his lifetime, in the 1931 collection Switch on the Light, edited by Christine Campbell Thompson.
It is notable in that Lovecraft uses the technique of referring to a text (in this case real life works by Petronius and Catullus) without giving a full explanation of its contents, so as to give the impression of depth and hidden layers to his work. He later refined this idea with the Necronomicon, prevalent in his Cthulhu Mythos stories.
Equally important to the later development of the Cthulhu Mythos is that a reprint of this story in the June 1930 edition of Weird Tales inspired Robert E. Howard to write to the magazine praising the work. This letter was passed on to Lovecraft and the two became friends and correspondents over the next six years until Howard's death in 1936. This literary connection became reflected in each author adding aspects from the other's works to their own tales and Howard is considered one of the more prolific of the original Cthulhu Mythos authors.
Kingsley Amis listed "Rats" (along with "The Dunwich Horror") as one of the Lovecraft stories "that achieve a memorable nastiness".[16] Lin Carter called "Rats" "one of the finest stories of Lovecraft's entire career."[17] S. T. Joshi describes the piece as "a nearly flawless example of the short story in its condensation, its narrative pacing, its thunderous climax, and its mingling of horror and poignancy."[18]
The name of the cat seen to be a dark breed of Ragdoll, "Nigger-Man" has often been cited in discussions of Lovecraft's racial attitudes, even though the story itself contains no negative racial depictions. Lovecraft owned a cat by that name until 1904. The cat had likely been given its name when Lovecraft was about age nine.[19]
