Frases de H. P. Lovecraft
página 4

Howard Phillips Lovecraft foi um escritor estadunidense que revolucionou o gênero de terror, atribuindo-lhe elementos fantásticos que são típicos dos gêneros de fantasia e ficção científica.

O princípio literário de Lovecraft era o que ele chamava de "Cosmicismo" ou "Terror Cósmico", que se resume à ideia de que a vida é incompreensível ao ser humano, e de que o universo é infinitamente hostil aos interesses do homem. Isto posto, as suas obras expressam uma profunda indiferença às crenças e atividades humanas. H.P Lovecraft originou o ciclo de histórias que posteriormente passaram a ser categorizadas no denominado Cthulhu Mythos e também desenvolveu o fictício grimório Necronomicon, supostamente vinculado ao astrônomo e ocultista britânico do século XVI, John Dee. Ao decorrer de suas criações, Lovecraft produziu um panteão de entidades extremamente anti-humanas com as quais, nas suas histórias, geralmente os seres humanos se podem comunicar através do Necronomicon.

Os seus trabalhos expressam uma atitude profundamente pessimista e cínica, muitas vezes desafiando os valores do Iluminismo, do Romantismo, do Cristianismo e do Humanismo . Os protagonistas de Lovecraft eram o oposto dos tradicionais gnose e misticismo por momentaneamente anteverem o horror da última realidade e do abismo.

Era assumidamente conservador e anglófilo , o que explica o porquê de ter sido habitual no seu estilo o emprego de arcaísmos e a utilização de vocabulário e ortografia marcadamente britânicos - fato que contribui para aumentar a atmosfera dos seus contos, pois muitos deles contêm referências a personagens que viveram antes da independência das Treze Colónias, bem como a estabelecimentos comerciais existentes entre os séculos XVII e XVIII.

Durante a sua vida, dispôs de um número relativamente pequeno de leitores, no entanto sua reputação verificou uma elevada gratificação com o passar das décadas, e ele, agora, é considerado um dos escritores de terror mais influentes do século XX. De acordo com Joyce Carol Oates, Lovecraft, como aconteceu com Edgar Allan Poe no século XIX, tem exercido "uma influência incalculável sobre sucessivas gerações de escritores de ficção de horror" , Stephen King chamou Lovecraft de "o maior praticante do século XX do conto de horror clássico." .

✵ 20. Agosto 1890 – 15. Março 1937   •   Outros nomes Говард Лавкрафт, اچ. پی. لاوکرفت
H. P. Lovecraft photo
H. P. Lovecraft: 212   citações 60   Curtidas

H. P. Lovecraft Frases famosas

“O quanto mais se afastava do mundo ao redor, mais exuberantes tornavam-se os sonhos;”

Os melhores contos de H.P. Lovecraft

“Não está morto o que eternamente jaz inanimado, e em estranhas realidades até a morte pode morrer.”

That is not dead which can eternal lie, And with strange aeons even death may die
esta citação de H. P. Lovecraft está no disco "" do Iron Maiden, escrita na lápide da sepultura de Eddie, como citado por João Paulo Andrade no artigo Envolvimento de bandas com ocultismo e satanismo http://whiplash.net/materias/curiosidades/000116-robertjohnson.html
Fonte: "The Call of Cthulhu", parte II; (veja wikisource)

Esta tradução está aguardando revisão. Está correcto?
Esta tradução está aguardando revisão. Está correcto?

H. P. Lovecraft: Frases em inglês

“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents.”

Fiction, The Call of Cthulhu (1926)
Contexto: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the light into the peace and safety of a new dark age.

“One of those creatures wrote you once, ‘do not call up any that you can not put down’.”

H.P. Lovecraft livro The Case of Charles Dexter Ward

often phrased as "Do not call up that which you cannot put down."
Fiction
Fonte: "The Case of Charles Dexter Ward", written 1927, first published in Weird Tales, July 1941

“It was from the artists and poets that the pertinent answers came, and I know that panic would have broken loose had they been able to compare notes.”

Fiction, The Call of Cthulhu (1926)
Contexto: It was from the artists and poets that the pertinent answers came, and I know that panic would have broken loose had they been able to compare notes. As it was, lacking their original letters, I half suspected the compiler of having asked leading questions, or of having edited the correspondence in corroboration of what he had latently resolved to see.

“The end is near. I hear a noise at the door, as of some immense slippery body lumbering against it. It shall not find me. God, that hand! The window! The window!”

H.P. Lovecraft livro Dagon

Fiction
Fonte: "Dagon" - Written Jul 1917; First published in The Vagrant, No. 11 (November 1919)

“In relating the circumstances which have led to my confinement within this refuge for the demented, I am aware that my present position will create a natural doubt of the authenticity of my narrative.”

H.P. Lovecraft livro The Tomb

"The Tomb" - Written Jun 1917; first published in The Vagrant, No. 14 (March 1922)<!-- p. 50-64 -->
Fiction
Contexto: In relating the circumstances which have led to my confinement within this refuge for the demented, I am aware that my present position will create a natural doubt of the authenticity of my narrative. It is an unfortunate fact that the bulk of humanity is too limited in its mental vision to weigh with patience and intelligence those isolated phenomena, seen and felt only by a psychologically sensitive few, which lie outside its common experience. Men of broader intellect know that there is no sharp distinction betwixt the real and the unreal; that all things appear as they do only by virtue of the delicate individual physical and mental media through which we are made conscious of them; but the prosaic materialism of the majority condemns as madness the flashes of super-sight which penetrate the common veil of obvious empiricism.

“However—the crucial thing is my lack of interest in ordinary life. No one ever wrote a story yet without some real emotional drive behind it—and I have not that drive except where violations of the natural order… defiances and evasions of time, space, and cosmic law… are concerned. Just why this is so I haven't the slightest idea—it simply is so. I am interested only in broad pageants—historic streams—orders of biological, chemical, physical, and astronomical organisation—and the only conflict which has any deep emotional significance to me is that of the principle of freedom or irregularity or adventurous opportunity against the eternal and maddening rigidity of cosmic law… especially the laws of time…. Hence the type of thing I try to write. Naturally, I am aware that this forms a very limited special field so far as mankind en masse is concerned; but I believe (as pointed out in that Recluse article) that the field is an authentic one despite its subordinate nature. This protest against natural law, and tendency to weave visions of escape from orderly nature, are characteristic and eternal factors in human psychology, even though very small ones. They exist as permanent realities, and have always expressed themselves in a typical form of art from the earliest fireside folk tales and ballads to the latest achievements of Blackwood and Machen or de la Mare or Dunsany. That art exists—whether the majority like it or not. It is small and limited, but real—and there is no reason why its practitioners should be ashamed of it. Naturally one would rather be a broad artist with power to evoke beauty from every phase of experience—but when one unmistakably isn't such an artist, there's no sense in bluffing and faking and pretending that one is.”

Letter to E. Hoffmann Price (15 August 1934) , quoted in Lord of a Visible World: An Autobiography in Letters edited by S.T. Joshi, p. 268
Non-Fiction, Letters, to E. Hoffmann Price

“The very fact that religions are not content to stand on their own feet, but insist on crippling or warping the flexible minds of children in their favour, forms a sufficient proof that there is no truth in them. If there were any truth in religion, it would be even more acceptable to a mature mind than to an infant mind—yet no mature mind ever accepts religion unless it has been crippled in infancy. … The whole basis of religion is a symbolic emotionalism which modern knowledge has rendered meaningless & even unhealthy. Today we know that the cosmos is simply a flux of purposeless rearrangement amidst which man is a wholly negligible incident or accident. There is no reason why it should be otherwise, or why we should wish it otherwise. All the florid romancing about man's "dignity", "immortality", &c. &c. is simply egotistical delusions plus primitive ignorance. So, too, are the infantile concepts of "sin" or cosmic "right" & "wrong". Actually, organic life on our planet is simply a momentary spark of no importance or meaning whatsoever. Man matters to nobody except himself. Nor are his "noble" imaginative concepts any proof of the objective reality of the things they visualise. Psychologists understand how these concepts are built up out of fragments of experience, instinct, & misapprehension. Man is essentially a machine of a very complex sort, as La Mettrie recognised nearly 2 centuries ago. He arises through certain typical chemical & physical reactions, & his members gradually break down into their constituent parts & vanish from existence. The idea of personal "immortality" is merely the dream of a child or savage. However, there is nothing anti-ethical or anti-social in such a realistic view of things. Although meaning nothing in the cosmos as a whole, mankind obviously means a good deal to itself. Therefore it must be regulated by customs which shall ensure, for its own benefit, the full development of its various accidental potentialities. It has a fortuitous jumble of reactions, some of which it instinctively seeks to heighten & prolong, & some of which it instinctively seeks to shorten or lessen. Also, we see that certain courses of action tend to increase its radius of comprehension & degree of specialised organisation (things usually promoting the wished-for reactions, & in general removing the species from a clod-like, unorganised state), while other courses of action tend to exert an opposite effect. Now since man means nothing to the cosmos, it is plan that his only logical goal (a goal whose sole reference is to himself) is simply the achievement of a reasonable equilibrium which shall enhance his likelihood of experiencing the sort of reactions he wishes, & which shall help along his natural impulse to increase his differentiation from unorganised force & matter. This goal can be reached only through teaching individual men how best to keep out of each other's way, & how best to reconcile the various conflicting instincts which a haphazard cosmic drift has placed within the breast of the same person. Here, then, is a practical & imperative system of ethics, resting on the firmest possible foundation & being essentially that taught by Epicurus & Lucretius. It has no need of supernatualism, & indeed has nothing to do with it.”

Letter to Natalie H. Wooley (2 May 1936), in Selected Letters V, 1934-1937 edited by August Derleth and Donald Wandrei, pp. 240-241
Non-Fiction, Letters

“There is no field other than the weird in which I have any aptitude or inclination for fictional composition. Life has never interested me so much as the escape from life.”

Letter to J. Vernon Shea (7 August 1931), quoted in "H.P. Lovecraft, a Life" by S.T. Joshi, p. 579
Non-Fiction, Letters

“I do differ from you radically in respect to familiar things & scenes; for I always demand close correlation with the landscape & historic stream to which I belong, & would feel completely lost in infinity without a system of reference-points based on known & accustomed objects. I take complete relativity so much for granted, that I cannot conceive of anything as existing in itself in any recognisable form. What gives things an aspect & quasi-significance to us is the fact that we view things consistently from a certain artificial & fortuitous angle. Without the preservation of that angle, coherent consciousness & entity itself becomes inconceivable. Thus my wish for freedom is not so much a wish to put all terrestrial things behind me & plunge forever into abysses beyond light, matter, & energy. That, indeed, would mean annihilation as a personality rather than liberation. My wish is perhaps best defined as a wish for infinite visioning & voyaging power, yet without loss of the familiar background which gives all things significance. I want to know what stretches Outside, & be able to visit all the gulfs & dimensions beyond Space & Time. I want, too, to juggle the calendar at will; bringing things from the immemorial past down into the present, & making long journeys into the forgotten years. But I want the familiar Old Providence of my childhood as a perpetual base for these necromancies & excursions—& in a good part of these necromancies & excursions I want certain transmuted features of Old Providence to form part of the alien voids I visit or conjure up. I am as geographic-minded as a cat—places are everything to me. Long observation has shewn me that no other objective experience can give me even a quarter of the kick I can extract from the sight of a fresh landscape or urban vista whose antiquity & historic linkages are such as to correspond with certain fixed childhood dream-patterns of mine. Of course my twilight cosmos of half-familiar, fleetingly remembered marvels is just as unattainable as your Ultimate Abysses—this being the real secret of its fascination. Nothing really known can continue to be acutely fascinating—the charm of many familiar things being mainly resident in their power to symbolise or suggest unknown extensions & overtones.”

Letter to Clark Ashton Smith (7 November 1930), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 214
Non-Fiction, Letters

“It is only the inferior thinker who hastens to explain the singular and the complex by the primitive shortcut of supernaturalism.”

H.P. Lovecraft livro The Temple

"The Temple" - Written 1920; first published in Weird Tales, 6 No. 3 (September 1925)
Fiction

“In infancy I was afraid of the dark, which I peopled with all sorts of things; but my grandfather cured me of that by daring me to walk through certain dark parts of the house when I was 3 or 4 years old. After that, dark places held a certain fascination for me. But it is in dreams that I have known the real clutch of stark, hideous, maddening, paralysing fear. My infant nightmares were classics, & in them there is not an abyss of agonising cosmic horror that I have not explored. I don't have such dreams now—but the memory of them will never leave me. It is undoubtedly from them that the darkest & most gruesome side of my fictional imagination is derived. At the ages of 3, 4, 5, 6, 7, & 8 I have been whirled through formless abysses of infinite night and adumbrated horrors as black & as seethingly sinister as any of our friend Fafhrd's [a nickname Lovecraft used for Fritz Leiber] "splatter-stencil" triumphs. That's why I appreciate such triumphs so keenly, I have seen these things! Many a time I have awaked in shrieks of panic, & have fought desperately to keep from sinking back into sleep & its unutterable horrors. At the age of six my dreams became peopled with a race of lean, faceless, rubbery, winged things to which I applied the home-made name of night-gaunts. Night after night they would appear in exactly the same form—& the terror they brought was beyond any verbal description. Long decades later I embodied them in one of my Fungi from Yuggoth pseudo-sonnets, which you may have read. Well—after I was 8 all these things abated, perhaps because of the scientific habit of mind which I was acquiring (or trying to acquire). I ceased to believe in religion or any other form of the supernatural, & the new logic gradually reached my subconscious imagination. Still, occasional nightmares brought recurrent touches of the ancient fear—& as late as 1919 I had some that I could use in fiction without much change. The Statement of Randolph Carter is a literal dream transcript. Now, in the sere & yellow leaf (I shall be 47 in August), I seem to be rather deserted by stark horror. I have nightmares only 2 or 3 times a year, & of these none even approaches those of my youth in soul-shattering, phobic monstrousness. It is fully a decade & more since I have known fear in its most stupefying & hideous form. And yet, so strong is the impress of the past, I shall never cease to be fascinated by fear as a subject for aesthetic treatment. Along with the element of cosmic mystery & outsideness, it will always interest me more than anything else. It is, in a way, amusing that one of my chief interests should be an emotion whose poignant extremes I have never known in waking life!”

Letter to Harry O. Fischer (late February 1937), in Selected Letters V, 1934-1937 edited by August Derleth and Donald Wandrei, pp. 416-417
Non-Fiction, Letters

“Madness rides the star-wind… claws and teeth sharpened on centuries of corpses… dripping death astride a bacchanale of bats from nigh-black ruins of buried temples of Belial…”

H.P. Lovecraft livro The Hound

"The Hound" Written September 1922, published February 1924 in Weird Tales, 3, No. 2, 50–52, 78
Fiction

Autores parecidos

J. D. Salinger photo
J. D. Salinger 7
escritor americano
Stephen King photo
Stephen King 77
Famoso escritor americano
Milton Friedman photo
Milton Friedman 29
Economista, estatístico e escritor norte-americano
Truman Capote photo
Truman Capote 20
Escritor norte-americano
Jorge Luis Borges photo
Jorge Luis Borges 118
escritor argentino
Bob Dylan photo
Bob Dylan 24
compositor, cantor, pintor, ator e escritor norte-americano
Stefan Zweig photo
Stefan Zweig 18
escritor austríaco
Erich Maria Remarque photo
Erich Maria Remarque 10
Escritor alemão