One
of the staples of the adventure genre is the “Lost Race” story,
which grew out of the “Lost World” story and sometimes overlaps
quite a bit. Since Sword & Sorcery evolved from adventure
fiction, some of that DNA ended up mixed in, but in a kind of
interesting way.
Adventure
fiction grew out of the 19th century, when a lot of the
world map was still pretty blank. Explorers were busy all through
the century trying to find all the hidden corners, but for fiction
writers there were still plenty of spots to put whatever you wanted,
because nobody could say you were wrong. You didn’t even have to
give some bullshit explanation as to why your lost civilization
didn’t show up on satellite pictures. It was a magical time.
Because
all the hidden valleys and lost oases in the world were not as
interesting as they would be if there were people in them, pulp
writers inevitably populated their forgotten corners of the earth
with some advanced civilization, often a remnant of some culture that
had existed in the past. These lost worlds were found to contain
Romans, Vikings, Cavemen, Israelites, or even Atlanteans. People cut
off from the world around them, and somehow still existing on the
same cultural and technological plane they had inhabited centuries or
millennia before.
This
was a very popular subgenre, and a slew of authors cranked out story
after story and book after book. Haggard, Kipling, Doyle, Burroughs,
and Merritt all wrote books in the genre, and they are just the tip
of the iceberg. A lot of these books influenced Howard, and so the
idea of the “Lost Race” went into the stew that created Sword &
Sorcery, but the nature of fantasy worked a fundamental change.
Because
unlike the regular run of Lost Race tales, S&S is not set in the
modern world, but in one that is either earlier in history, or in a
completely fantastical world with no relation to our own. Thus, the
usual candidates for lost races were not available. This means that
a writer of Sword & Sorcery who wants to do a lost race story has
to invent their own lost race.
In practice this went one of two ways; either the author used some
shadowy people out of semi-legendry, or they just invented from whole
cloth. Howard himself was quite obsessed with the Picts – who were
an actual race who existed in northern Scotland – and used them in
several of his Dark Age stories like “Kings of the Night” and
“The Dark Man”. To him, the Picts were a pre-Celtic race who had
been driven out by later invaders, and who retreated underground to
survive, slowly reverting to an almost bestial savagery.
But
in a fantasy world, the author has to invent lost races out of
nothing. And in Sword & Sorcery fiction this impulse tangles
with the Lovecraftian influence to create lost races that are not
just alien, but actually inhuman. In a Lovecraftian cosmos, the
races that came before man were avowedly subhuman, from the nebulous
subterranean beings of Irem, the Deep Ones of Innsmouth, to the Worms
of the Earth, the Serpent Men of Valusia, or even the Melniboneans.
Lost
Races in Sword & Sorcery fiction are not just remnants of earlier
eras, they are enemies of mankind. Inhuman and inimical, serving
bestial gods and bent on the destruction of humanity. Inevitably,
this makes evil and corruption a racial issue, as dark magic and evil
machinations are the heritage of those peoples who descend through
aeons of time from some pre-human race of monsters. In a Howard
story, if you trace the bloodline of a sorcerer back far enough, you
will find a lizard.
This
means lost race tales are fundamentally different in S&S. You
are never going to have a tale about an explorer who happens upon a
lost city of Romans, helps them build a cannon, runs afoul of the
high priest, and then escapes hand-in-hand with the princess as the
volcano erupts. The only thing remotely like this in the canon is
“Red Nails”, and there Howard subverts the tropes by having the
hidden race be as bloody-minded and primitive as anyone else in the
Hyborian Age. In adventure fiction, a lost race tale makes the
modern era look so much more advanced than all those silly
primitives. In Sword & Sorcery it rends the veil and reveals
civilization as a thin veneer over ages of howling madness.
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