I have often spoken about the fact, that I feel that H.P. Lovecraft was not just a horror fiction writer, but that he was indeed a dreamer, that is he was an active participant in astral planes, where he did directly perceive those things, that he wrote about.

I feel that this is the case, because of the intensity of his words, the descriptive nature of them, and the fact that he wrote about many things that he could not have known about, even if he was the prolific occult reader that some have spoken about in his biographies. There are many passages for example, that he used in his supposedly fiction writing, that demonstrated an understanding of occult topics that had few, perhaps no parallels, at that time. He often described what I would term a very deep and highly complex energetic truth, one that was really never found in the contemporary occult writings of the time, and that were not part, in their complexity and intensity, of the occult library that he supposedly possessed.

One such passage, which had an incredible amount of hidden truth, one again that is impossible to just uncover in some text, and write about so eloquently and with such intensity, without actually perceiving it yourself directly, is the small, and now famous couplet from the short story, the nameless city.

This quote is as follows:

“That is not dead which can eternal lie,

And with strange eons even death may die.”

I would personally say that there are three potential interpretations, to the intense energetic truth in this couplet, that incredibly, has been presented as mere fiction, by this amazing writer and practitioner. This couplet by the way, is a true key, hidden as pulp fiction. This is a doorway, a kind of inner portal, that can indeed open entrances into new and sometimes terrifying dimensions. This is as the author would say, part of a great spell from a magic book, that can open doors into odd dimensions, where colossal and monstrous things lie dreaming.

But to get back to the interpretation of this couplet, I would say that there are three interpretations, definitions, of what this couplet actually means, and these explanations could be divided as:

-a regular interpretation for the average reader

-the definition of what a dark outer titan is, by a practising occultist, perhaps a dark practitioner

-and finally, an interpretation or definition of what this all means, for an inner alchemist from my current

We may start by trying to see things just from a fictional writer’s perspective, which is the most common perspective, being that it would be what you would imagine the author is trying to say to the average reader, what he is implying in relatively simple rational terms. That is, what he might be saying to a normal reader, trying to use rational words, to describe something that in its vastness and power, is beyond rationality itself.

What I feel he is trying to say to the average reader, is that there is this colossal and seemingly odious thing, this giant, this Titan, that in its sheer size and horror, has existed so long, and due to the very nature of it, the enormous-ness of it, the size of it, the alien character of it, it does not seem to be touched in some way by the entropy of this world. That through such sheer alien and foul power, power that goes beyond the puny rational understanding of humanity, this thing could exist so long in its lumbering, in its not so quiet dreaming, that eventually through the course of eons, and not just any time, but through the passage of an eternity of odd ages, this thing would even be able to outlast death itself, so that it could see death itself die, and it would continue past death. So that through the sheer massive power of it, the dark magic of it, it would in the end outlive death itself.

That is the first interpretation, and in and of itself, it is an amazing explanation of something that rationality has no equal in the average world, and all of this done in two lines. Magnificent writing really.

Now, why I say that H.P. Lovecraft was more than just an average writer with a great imagination, is that the intensity of the description given here, is only possible for someone who is not just a great writer, but also someone who can directly perceive, what he is trying to describe. I feel that this is so, because of the intensity of the writing, of the amount of information packed into every small bit of it. This could only be achieved by a seer, someone who could directly perceive, using what I referred to as the inner senses, or someone who has mastered the art of astral travel, which I refer to as being a projectionist.

So, in accordance with the power of such a direct seer of such a titan, then we can further add to the above explanation, to those that want a greater than just average and common understanding of H.P. Lovecraft, by saying that such a Titan, such a horror, as the one stumbled upon by the protagonist in the nameless city, is a giant of such monumental proportions, that it occupies space not only in this three dimensional reality, but also in other dimensions. What I mean by this is that this thing that the protagonist has found, is so large, that it basically goes beyond one place, and into multiple dimensions.

This is an incredibly difficult thing to describe, for anyone, but for a master writer like H.P. Lovecraft, his use of incredibly descriptive words, plus his ability to leave certain things, certain particular things, to the imagination, is incredibly potent, and it is indeed a kind of magic. He for example, says that there is this lost city, which in rational terms can be defined as a contained geography of certain proportions understandable in rational terms. But, he also says that within this place there is something that is so big, that it goes beyond the geography of this particular physical place alone. He is saying that there is this thing within this place, that is so heavy, that has so much of a kind of weight of intensity, a horrific weight he adds, that it basically defies the average understanding of the term colossal. As such this thing is so big in a way, it is so heavy in its evil, that it exists in places beyond this place, it exists basically in other dimensions. It is not just on in the city, it is not just in the physical body of the place itself, it is beyond all that, the heinousness of it is beyond physicality.

Due to the sheer size of it, which as I have pointed out is beyond physical, this nameless evil seems to be able to live eternally, in that morbid sleep of it, and because of this colossal multidimensional nature of it, it is not affected in some way by the entropy of this world. In other words, the alien-ness of it is something, that a seer of it, a true seer, using average words, might describe as multidimensional, or as something that is beyond the eons of time.

He alludes to this multidimensional reality, by saying that it cannot be touched somehow, that it can eternally lie without corruption. And in this eternal and unaffected sleep, it can lie so long that it can even cheat death of death itself. He is saying in his general work, that there are Titans out there, in the infinity of the cosmos, Titans which I argue he must have seen directly himself, because of the sheer force and descriptive detail of his writing, that in their colossal nature, these titans, are in a way beyond average death itself. And he says the massive weight of this Titan is such, that it defies dimensions, and due to that force of gravity, like a kind of singularity of evil, it cannot die in this dimension.

This is where his descriptions end in a way using regular terms, but we could continue from an occult, hidden, inner point of view, from an inner perspective, as a continuation from his seeing to my seeing, using the inner senses and the art of projection, in the way of my current as I write about in my books. And from that extended point of view, we could say that the seeing of such inner practitioners does indeed reveal, that such massive Titans do indeed exist out there, and that they do indeed defy what might be termed physical death, through their sheer colossal nature, through their ability to participate simultaneously in many dimensions, and through that force, through that power, that massive intensity, they defy what might be termed natural entropy, and the laws of any one, particular dimension.

And we may go even further, in that extended interpretation of this famous couplet, by considering the point of view and the seeing and doing of a dark occult practitioner. From that perceptive point we could say, that after a lifetime of struggle, such a practitioner, may be able to finally see the true nature of energetic reality, the true nature of the cosmos, and further they may then be able to finally perceive for themselves directly, those outer Titans that H.P. Lovecraft described throughout his work. As such, continuing with such dark occult practices, such a practitioner might continue in their occult efforts, by trying to duplicate the power of such Titans, in whatever way they can.

And they do so, being that such practitioners are indeed real, they do, try to become just like their master, through dark techniques that allow them to gain weight, more and more mass, more gravity, dark intensity, so that they too can eventually begin to occupy different dimensions, and never leave this dimension fully. They then may leave a corpus of themselves here, just like that repellent viewless aura, that encompassed that timeless city that the protagonist found, in the story, the nameless city.

The nature of such dark practitioners is such that, in their struggle to duplicate those outer Titans, a part of them always maintains its tenacious, terrible, hold on this three-dimensional reality, and uses the great desire of the flesh to be found here, the way of the flesh here, the way of the flesh, to bind aspects of themselves to this dimension, and yet move on to others, as well. And in doing so, through dark means, through weight, they try to acquire more and more energy, like fabled vampires, but more. I say more because of the intensity of the technique, of the complexity of it. And in that way, through the acquisition of such power and such weight, always more and more weight, it is their hope to one day defy death in the same way that the Titan from this fantastic tale of horror does, written and described by someone who I believe was indeed a seer, a direct perceiver, of such monstrous entities that are indeed real, not fiction.

Further, and in a final definition of what this couplet can mean, we could say that through such perceptions, and the experiences of those dark practitioners just described, other practitioners, through their particular seeing in accordance with all that can be witnessed, may in their interpretation of all that seeing and doing, move along in a different direction, a direction of lightness as opposed to weight. Instead of binding themselves to this dimension through the love of the flesh, the endless pain and pleasure, the desire, the dark dreaming of that titan from the nameless city, they instead try to let go of all weight and in that fashion move into different dimensions, through lightness as opposed to great weight, and in that manner conquer death not through weight, but through true freedom.

This then is the definition of that famous couplet taken to its furthest point, beyond the common and into the realm of those that know. And this knowing says that, while there are those of an order that try to directly duplicate the weight of the very real outer Titans, there are those that in seeing the folly of them, in the folly of those dark practitioners, decided to use that seeing and that experience, to move in a different way, a contrary way, a way of lightness as opposed to great mass.

In conclusion, I can say that those that can see, will always be hindered by the rational, by the words that one needs to use to describe those things that are outside the scope of those words themselves. Individuals like H.P. Lovecraft in their great gift for words, will squeeze such words and create utter wonder, true magic from them. But those words will always be a kind of limiter as to what is descriptively possible. And yet, within those words, written by a seer, or projectionist, a true practitioner, a true artist such as H.P. Lovecraft, there will always be a kind of intensity in such work, that will flow beyond those words themselves, that will add a kind of intensity or way to them that is very very hard to describe, in rational terms.

Such practitioners and such artists, therefore, will always be hindered because words were never truly designed, to describe those odd angles that they can perceive directly through their inner senses. Such true practitioners may even need to resort to calling their work, their revelation, their magic, fiction.

And due to the fact that the nature of such inner travels is so all-consuming to the psyche, such practitioners will almost always be lonely souls, existing at the fringe of the common world. As such, they may need to try to survive in the human world in any way that they can, at that outer edge, being that such seers cannot function in some crucial ways in the common world. Such powerful seers or projectionists, lost in an alien reality of multiple dimensions, being that they have had access to other dimensions, other dimensions that may have changed them, made them different , not wholly of this human world any longer, they may need to use those very words that they may find so challenging, so limiting, to try to survive in this world.

They may need to resort to any means necessary, to survive in a world, perhaps even calling themselves something that they are not, like fiction writers, writers of weird tales perhaps.

H.P. Lovecraft needed to become a writer of supposed fiction, a writer of strange and weird horror stories. Stories so strange and so new in their perspective, so intense in a hard to define way, that they would never be truly and fully appreciated during his lifetime. But those words, those simple and eloquent words, still managed to have so much intensity, that in time the weight of them would indeed begin to change the face of how humanity perceives itself, and the greater cosmos.

And that is the odd way of magic, and that is the way of intensity. The body may die, but the words live on, and through those words a part of what once was exists still, it gains weight through the mass of human attention, and through that mass, it begins to exist in more than just one dimension, and through that increasing intensity of time and through that power, perhaps in the course of odd eons, that which lies eternal in the minds of humanity, may even, watch death, die.