Along the shore the cloud waves break,

The twin suns sink behind the lake,

The shadows lengthen

In Carcosa. Strange is the night where black stars rise,

And strange moons circle through the skies

But stranger still is

Lost Carcosa. Songs that the Hyades shall sing,

Where flap the tatters of the King,

Must die unheard in

Dim Carcosa. Song of my soul, my voice is dead;

Die thou, unsung, as tears unshed

Shall dry and die in

Lost Carcosa. Cassilda’s Song in “The King in Yellow,” Act 1, Scene 2.

—Robert W. Chambers, The King in Yellow (1895)

The canon of The King in Yellow consists of a few fragments and tantalizing hints strung out over the first four stories of Robert W. Chamber’s strange collection. It is a play in two acts; there are at least two characters with speaking roles, Cassilda and the Stranger, and Camilla is mentioned besides, along with several odd names (Demhe, Hali, Carcosa, Yhtill, Hastur, etc.) Cassilda has a song. That is almost all.

Entire plays based on Chambers’ cryptic fragments have been written; a corpus of “Yellow Mythos” tales have spun out from the weird, decadent, almost nihilistic fin de siècle atmosphere. As with the Lovecraft Mythos, most of the energies of subsequent generations of writers and poets has revolved back around Chambers himself. Whatever expansions, interpretations, and embellishments other writers might add, there is that small, hard core of canon: Cassilda’s song.

One of the earliest such embellishments was by the noted bookman Vincent Starrett; his poem “Cordelia’s Song from The King in Yellow” was published in Weird Tales (Apr 1938):

The moon shines whitely; I shall take

My silk umbrella, lest the moon

Too warmly fall upon the lake

And cause my bridal flowers to swoon. The sparrow’s sorrow is in vain,

And so does he his bride forget.

I wed the long grass and the rain,

And seven sailors dripping wet. And shall not you and shall not I

Keep tryst beside this silent stream,

Who thought that we should rather die

Than wed the peacock’s amber dream? The moon shines whitely; I shall take

My silk umbrella, lest the moon

Too coldly fall upon the lake

And chill my bridal flowers too soon.

The work is subtle; Starrett was too canny a reader to go for pastiche, or overt references to Carcosa or the Hyades; there is a lake, but not specifically the Lake of Hali. He does not specify where in the play this song is placed, either in the first act or the second…or does he?

The very banality and innocence of the first act only allowed the blow to fall afterward with more awful effect.

—Robert W. Chambers, “The Repairer of Reputations” in The King in Yellow

The “innocence” certainly seems to fit, though it may be Starrett was hinting at a connection with one of Chamber’s other weird works, “The Maker of Moons” (1896). Still, it introduces a third female character—Cordelia—to the cast alongside Cassilda and Camilla. By giving both Cordelia and Cassilda songs, it may suggest that Camilla has one as well.

The “missing song” is provided by Ann K. Schwader, whose poem “Evening Reflections, Carcosa” bears the subtitle “(Camilla’s Song),” which begins where Chambers ends:

Cassilda sings the dying twilight down

Again to me tonight from her soul’s tower

—Ann K. Schwader, “Evening Reflections, Carcosa” in Twisted in Dream 98

Schwader likely took inspiration directly from Chambers, just as Starrett did. Certainly, “Evening Reflections, Carcosa” references directly and explicitly the mythos of The King in Yellow—and builds on those cryptic hints, suggesting a lament. If Cassilda’s and Cordelia’s songs were in act 1, then Camilla’s song feels as though it might have a place in that second and final act. Perhaps the play ends with Camilla singing:

Cursed as we all are with his bitter Sign.

(ibid. 99)

—and leave the audience to decide whether she is addressing them as well.

Starrett and Schwader’s respective contributions are both inspired by “Cassilda’s Song”; it is the crucial bit of lore that both have fastened on, the well of inspiration for their respective imaginations in their individual ways—and they are not alone. It has given its name to an entire anthology of female contributors: Cassilda’s Song: Tales Inspired by Robert W. Chambers’ King in Yellow Mythos (2015), just as the song itself has inspired fiction such as “Slick Black Bones and Soft Black Stars” (2012) by Gemma Files.

“Cordelia’s Song from The King in Yellow” was first published in Weird Tales (Apr 1938), and subsequently republished in The Spawn of Cthulhu (1971), and Peter Haining’s Weird Tales reprint anthology (1976, 1990).

Ann K. Schwader’s poems relating to The King in Yellow include “Postscript: The King in Yellow,” “A Phantom Walks,” “Autumn, Lake Hali,” “Stargazing, Lake Hali,” “A Lost Song of Cassilda,” “Evening Reflections, Carcosa,” “A Queen in Yellow,” and sonnets XXIV-XXVI of “In the Yaddith Time” all contained in Twisted in Dream: The Collected Weird Poetry of Ann K. Schwader (2011); “The Queen’s Speech”, “At the Last of Carcosa,” “Outside the Chamber,” and “Finale, Act 2,” were collected in Dark Energies (2015). She has also written stories related to the Yellow Mythos, including “Tattered Souls” (2003) and “Dancing the Mask” (2015).

Bobby Derie is the author of Sex and the Cthulhu Mythos (2014)