Clark Ashton Smith

Clark Ashton Smith

Summary

Portrait of Clark Ashton Smith Clark Ashton Smith The Flower-Women (1935)

Two of them were armed with long, sinuous-bladed knives; and others were equipped with enormous adamantine pestles, to be employed, no doubt, in bruising the flesh of the floral vampire.
When they saw the enchanter; they were both startled and angered. Their necks and torsos began to swell like the hoods of cobras, and a great hissing rose among them, like the noise of jetted steam. Their aspect would have struck terror to the heart of any common man; but Maal Dweb confronted them calmly, repeating aloud, in low, even tones, a word of sovereign protective power.
Source: Wikisource

Portrait of Clark Ashton Smith Clark Ashton Smith The Flower-Women (1935)

Therefore, I, Maal Dweb, the ruler of six worlds and all their moons, shall go forth alone, unheralded, and without other equipment than that which any fledgling sorcerer might possess. In this way, perhaps I shall recover the lost charm of incertitude, the foregone enchantment of peril. Adventures that I have not foreseen will be mine, and the future will wear the alluring veil of the mysterious.
Source: Wikisource

Portrait of Clark Ashton Smith Clark Ashton Smith The Flower-Women (1935)

The girlish eyes of Athlé regarded the enchanter with a gaze of undying astonishment, which, however, was not due to his strange avowal. She was the last of the fifty-one women that Maal Dweb had turned into statues in order to preserve their frail, corruptible beauty from the worm-like gnawing of time. Since, through a laudable desire to avoid monotony, he had resolved never to repeat again this particular sorcery, the magician had cherished Athlé with the affection which an artist feels for the final masterpiece of a series.
Source: Wikisource

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