During the next fortnight or so Anderson’s slumbers were mercifully free of nightmares, so that he was early prompted to continue his researches into the Cthulhu Cycle of Myth. This further probing was born partly of curiosity and partly (as Anderson saw it) of necessity; he yet hoped to be able to gainfully employ his brother’s mysterious green light, and his determination was bolstered by the fact that takings of late had been dismal. So he closed off again the previously partitioned area of the tent and his spare-time studies now became equally divided between Hamilton’s books of occult lore and a patient examination of the hideous idol and carved tablets. He discovered no evidence of hidden mechanical devices in the queer relics, but nevertheless it was not long before he found his first real clue towards implementing his ambition.
It was as simple as this: he had earlier noted upon the carved tops of the stone tablets a series of curiously intermingled cuneiform and dot-group hieroglyphs, two distinct sets to each stone. This could not be considered odd in itself, but finally Anderson had recognized the pattern of these characters and knew that they were duplicated in the handwritten Necronomicon; and more, there were translations in that work into at least two other languages, one of them being the antiquated German in which the bulk of the book was written.
Anderson’s knowledge of German, even in its modern form, was less than rudimentary, and thus he enlisted the aid of old Hans Möller from the hoopla stall. The old German’s eyesight was no longer reliable, however, and his task was made no easier by the outmoded form in which the work was written; but at last, and not without Anderson’s insistent urging, Möller was able to translate one of the sequences first into more modern German (in which it read: Gestorben ist nicht, was für ewig ruht, und mit unbekannten Äonen mag sogar der Tod noch sterben; ), and then into the following rather poor English: “It is not dead that lies still forever; Death itself dies with the passing of strange years.”
When he heard the old German speak these words in his heavy accent, Anderson had to stifle the gasp of recognition which welled within him. This was nothing less than a variation of that paradoxical couplet with which his brother had once terminated his fiendish “sacrifice to Cthulhu!”
As for the other set of symbols from the tablets, frustration was soon to follow. Certainly the figures were duplicated in the centuried book, appearing in what Anderson at first took to be a code of some sort, but they had not been reproduced in German. Möller—while having not the slightest inkling of Anderson’s purpose with this smelly, evil old book—finally suggested to him that perhaps the letters were not in code at all, that they might simply be the symbols of an obscure foreign language. Anderson had to agree that Möller could well be right; in the yellowed left-hand margin of the relevant page, directly opposite the frustrating cryptogram, his brother had long ago written: “Yes, but what of the pronunciation?”
Hamilton had done more than this: he had obligingly dated his patently self-addressed query, and the surviving Tharpe brother saw that the jotting had been made prior to the fatal second period of travel in foreign lands. Who could say what Hamilton might or might not have discovered upon that journey? Without a doubt he had been in strange places. And he had seen and done strange things to bring back with him that hellish cancer-growth sprouting in his brain.
Finally Anderson decided that this jumbled gathering of harsh and unpronounceable letters—be it a scientific process or, more fancifully, a magical evocation—must indeed be the formula with which a clever man might call forth the green light in his dead brother’s “Temple of Cthulhu”. He thanked old Hans and sent him away, then sat in his caravan poring over the ancient book, puzzling and frowning long into the evening; until, as darkness fell, his eyes lit with dawning inspiration…
And so over the period of the next few days the freakhouse suffered its transition into the Tomb of the Great Old Ones. During the same week Anderson visited a printer in the local town and had new admission tickets printed. These tickets, as well as bearing the new name of the show and revised price of admission, now carried upon the reverse the following cryptic instruction:
Any adult person desiring to speak with the proprietor of the Tomb of the Great Old Ones on matters of genuine occult phenomena or similar manifestations, or on subjects relating to the Great Old Ones, R’lyeh or the Cthulhu Cycle of Myth, is welcome to request a private meeting.
Anderson Tharpe: Prop.
The other members of the fairground fraternity were not aware of this offer of Anderson’s—nor of his authority, real or assumed, in such subjects to be able to make such an offer—until after the funfair moved into its next location, and by that time they too had discovered his advance advertising in the local press. Of course, Bella Hodgson had always looked after advance publicity in the past, but she could hardly be offended by Anderson’s personal efforts toward this end. Any good publicity he devised and paid for himself could only go towards attracting better crowds to the benefit of the funfair in general.
And within a very short time Anderson’s plan started to bear fruit, when at last his desire for a higher percentage of rather more erudite persons among his show’s clientele began to be realized. His sole purpose, of course, had been to attract just such persons in the hope that perhaps one of them might provide the baffling pronunciation he required, an acoustical translation of the key to call up the terrible green glow.
Such authorities must surely exist; his own brother had become one in a comparatively short time, and others had spent whole lifetimes in the concentrated study of these secrets of elder lore. Surely, sooner or later, he would find a man to provide the answer, and then the secrets of the perfect murder weapon would be his. When this happened, then Anderson would test his weapon on the poor unfortunate who handed him the key, and in this way he would be sure that the secret was his alone. From then on…oh, there were many possibilities…
Through early and mid-April Anderson received a number of inquisitive callers at his caravan: some of them cranks, but at least a handful of genuinely interested and knowledgeable types. Always he pumped them for what they knew of elder mysteries in connection with the Cthulhu Cycle, especially their knowledge in ancient tongues and obscure languages, and twice over he was frustrated just when he thought himself on the right track. On one occasion, after seeing the tablets and idol, an impressed visitor presented him with a copy of Walmsley’s Notes on Deciphering Codes, Cryptograms, and Ancient Inscriptions; but to no avail, the work itself was too deep for him.
Then, towards the end of April, in response to Anderson’s continuous probing, a visitor to his establishment grudgingly gave him the address of a so-called “occult investigator”, one Titus Crow, who just might be interested in his problem. Before he left the fairground this same gentleman, the weird artist Chandler Davies, strongly advised Tharpe that the whole thing were best forgotten, that no good could ever come of dabbling in such matters—be it serious study or merely idle curiosity—and with that warning he had taken his leave…
Ignoring the artist’s positive dread of his line of research, that same afternoon Anderson wrote to Titus Crow at his London address, enclosing with his letter a copy of the symbols and a request for information concerning them; possibly a translation or, even better, a workable pronunciation. Impatiently then, he watched the post for an answer, and early in May was disappointed to receive a brief note from Crow advising him, as had Davies, to give up his interest in these matters and let such dangerous subjects alone. There was no explanation, no invitation regarding further correspondence; Crow had not even bothered to return the cryptic paragraph so painstakingly copied from the Necronomicon.