
Just for fun, let’s examine this notion. Howard’s favorite hero-type is a tall, rangy, wolflike warrior of pure
Gaelic ancestry—blue-eyed but with a rather swarthy complexion, black-maned and with a scarred,
somewhat sinister countenance; he is always a barbarian, neither giving nor expecting quarter in open battle,
but possessing a concealed, innate chivalry or basic decency that keeps him from being downright cruel.
Cormac Mac Art fits into this type precisely.
So also do Howard’s mightiest epic-heroes, King Kull of Atlantis and Conan the Cimmerian. Kull, a barbarian
from the island-continent of Atlantis, wins to the throne of Valusia—the mightiest kingdom of what then
corresponded to the continent of Europe—through his skill with the sword and the might of his own steely
thews; all this took place 100,000 years ago, if one is to believe the utterances of the old Pictish priest Gonar
in one of Howard’s finest tales, “Kings of the Night.” Ages later, about 18,000 B.C., Atlantis sank and terrific
cataclysms changed the face of the world; the Hyborian Age came into being, its glamorous civilization rising
only after long millennia of barbarism following the cataclysms. Eventually, Conan the Cimmerian—a
black-maned, muscular, scar-faced hero like Kull—wins to the throne of Aquilonia, mightiest of the Hyborian
nations. In “The Hyborian Age,” an elaborate article Howard penned to detail the background for his Kull and
Conan stories, it is stated that “North of Aquilonia... are the Cimmerians, ferocious savages...; they are the
descendants of the Atlanteans...” Thus Conan turns out to be of the same basic racial strain as Kull. Finally,
near the end of his article, after describing the destruction of the Hyborian Age, Howard states: “The Gaels,
ancestors of the Irish and Highland Scotch, descended from pure-blooded Cimmerian clans.” Thus a racial
link is established between Kull of Atlantis, Conan of Cimmeria and the various black-maned, sinister-faced
Gaelic heroes of Howard’s who rove and slay within the framework of more-or-less known history.
Perhaps the earliest of these “historical-Cimmerian” heroes is Conan of the reivers, who appears in the tale
“People of the Dark.” Raiding a village on the west coast of Britain with his fellow reavers from Erin, Conan
pursues into the forest a blond girl who has excited his primitive lust—and finds himself battling in her behalf
the horrid, semi-human “Little People” (so well depicted first in modern horror-fiction by Arthur Machen, and
later elaborated on by Howard). Conan of the reivers, like his Cimmerian predecessor, seems to have little on
his mind but satisfying his brutish appetites, though a primitive chivalry comes to the fore in him when the
chips are down; King Kull, on the other hand, often displayed a melancholy, philosophical temperament—a
brooding wonderment that wrestled with the problems of what the universe was all about.
Conan of the reivers, judging from internal evidence, probably ranged the British Isles sometime during the
first millennium B.C., before the coming of the Roman legions to the isles. Cormac of Connacht, the next
Gaelic hero-figure in the series, appears at the time of the final military defeat that breaks the power of Rome
in Britain. Actually Cormac is more of an observer than a hero, for the real hero at this time is Bran Mak
Morn, king of the Picts. Cormac is a major figure in “Kings of the Night,” perhaps Howard’s greatest tale of
epic heroism, in which the mighty King Kull comes out of the past to aid the people of the heather in
smashing the overbearing legions of Rome; the only other story mentioning Cormac is “Worms of the Earth,”
in which Bran Mak Morn induces the Little People to aid him in the destruction of a cruel and overweening
Roman general. (Incidentally, I think an amalgamation of these two Bran Mak Morn tales would make an epic
movie worthy of Cecil B. deMille—with someone like Jack Palance playing the part of the Gaelic hero Cormac
of Connacht...)
Not long after Bran and Cormac smashed the Roman legions in Britain, Rome itself fell to the Goths and the
Empire was at an end. The British Isles slowly reverted to the bronze-age savagery of the Dark Ages as Pict,
Gael, Saxon and Jute strove with the semi-Romanized Britons for supremacy, while the first trickle of Viking
activity began to be felt from the north. It was during this period, renowned in semi-mythical history for the
exploits of King Arthur, that the hero of this book flourished—Cormac Mac Art. Cormac is a hero out of the
standard cloth—“a tall, rangily built man, deepchested and strong,” with “square-cut black hair and dark,
smooth face... This man’s eyes were narrow slits and of a cold-steel grey, and they, with a number of scars
that marred his face, lent him a peculiarly sinister aspect.” Cormac is an outcast Irish sea-rover who ranges
with the Danish Viking, Wulfhere the Skull-splitter.
Four tales of Cormac Mac Art are know to exist. Except for “The Night of the Wolf,” which appeared in the
Dell paperback collection Bran Mak Morn, they are published in this collection for the first time. I have
arranged these four tales in what I think is as logical an order as may be inferred from the internal evidence. In
“The Temple of Abomination” (evidently the earliest attempt of Howard’s concerning this hero, and the only
tale in the series having a supernatural theme) Cormac states to Wulfhere: “Alaric led his Goths through the
Forum fifty years ago, yet you barbarians still start at the name of Rome. Fear not; there are no legions in
Britain.” He goes on to say that “most of the chiefs are gathering about Arthur Pendragon for a great.
concerted drive”—against the Saxons. “The Night of the Wolf,” which I have placed third in the series, ends
with Cormac and Wulfhere escaping with their crew in a long ship called the Raven, which is the name of their
ship in the fourth tale, “Tigers of the Sea.” Now, in “Tigers” there is a discrepancy: Cormac states in this tale
that “Some eighty years ago... Alaric and his Goths sacked the imperial city”—implying that thirty years have
passed since “The Temple of Abomination” yet he also says that “Damnonia and the country extending to