The Great Old Ones

Beyond the Ultimate Gate

Going back to an aforementioned quote from The Dreams in the Witchhouse, the Ultimate Void is described as being nary to any mathematical formalism possible:

There were suggestions of the vague, twilight abysses, and of still vaster, blacker abysses beyond them—abysses in which all fixed suggestions of form were absent. He had been taken there by the bubble-congeries and the little polyhedron which always dogged him; but they, like himself, had changed to wisps of milky, barely luminous mist in this farther void of ultimate blackness. Something else had gone on ahead—a larger wisp which now and then condensed into nameless approximations of form—and he thought that their progress had not been in a straight line, but rather along the alien curves and spirals of some ethereal vortex which obeyed laws unknown to the physics and mathematics of any conceivable cosmos. Eventually there had been a hint of vast, leaping shadows, of a monstrous, half-acoustic pulsing, and of the thin, monotonous piping of an unseen flute—but that was all. Gilman decided he had picked up that last conception from what he had read in the Necronomicon about the mindless entity Azathoth, which rules all time and space from a curiously environed black throne at the centre of Chaos.
~ The Dreams in the Witchhouse

Note that this is merely the pathway to the ultimate void, the final stages when one only beholds the hints of the Outer Gods; this can be akin to the final vaporous barrier in Hypnos or the crossing of the Ultimate Gate in Through the Gates of the Silver Key. Due to Gilman being influenced under the hand of Nyarlathotep, that explaisn why he is not instantly obliterated or overwhelemed by the passage from this point.

I admit this is blatantly stated to be from the perception of a mere human, but the man in question, Gilman, studies niche calculus and math:

Possibly Gilman ought not to have studied so hard. Non-Euclidean calculus and quantum physics are enough to stretch any brain; and when one mixes them with folklore, and tries to trace a strange background of multi-dimensional reality behind the ghoulish hints of the Gothic tales and the wild whispers of the chimney-corner, one can hardly expect to be wholly free from mental tension. Gilman came from Haverhill, but it was only after he had entered college in Arkham that he began to connect his mathematics with the fantastic legends of elder magic.
~ The Dreams in the Witchhouse

Gilman is stated to be doing Calculus D, which is akin to Vector Calculus, Riemann Equations, and the like. However, given he is into occult and more obscure sciences, it would not be too absurd for him to have heard and studied the works of Georg Cantor's set theory, a shunned and repudiated mathematical branch during his time which is right up his alley. This means he could possibly know of the concept of an absolute infinity (And we will get back to this eventually) and yet the outer void is so foreign that he deigns to justifying it even with the concepts of dimensionality or, if he possibly knows it, of higher infinities. In other words, the outer void may possibly be above cantorian cardinality.

This is furthermore a possibility, as Randolph Carter, one to delve into obscurer and more cryptic mathematical and philosophical studies, percieved this for either his ultimate archetypal self or Yog Sothoth (Hard to tell):

While most of the impressions translated themselves to Carter as words, there were others to which other senses gave interpretation. Perhaps with eyes and perhaps with imagination he perceived that he was in a region of dimensions beyond those conceivable to the eye and brain of man. He saw now, in the brooding shadows of that which had been first a vortex of power and then an illimitable void, a sweep of creation that dizzied his senses. From some inconceivable vantage-point he looked upon prodigious forms whose multiple extensions transcended any conception of being, size, and boundaries which his mind had hitherto been able to hold, despite a lifetime of cryptical study. He began to understand dimly why there could exist at the same time the little boy Randolph Carter in the Arkham farmhouse in 1883, the misty form on the vaguely hexagonal pillar beyond the First Gate, the fragment now facing the PRESENCE in the limitless abyss, and all the other “Carters” his fancy or perception envisaged.
~ Through the Gates of the Silver key

Again, possible evidence that this level is above any cantorian notion of size too, especially given the comparison to "crytpcial studies" which likely could include the works of Von Neumann and Cantor.

The main inhabitant of the Ultimate Void are the Ultimate Gods:

The Ultimate Gods

It was dark when the galley passed betwixt the Basalt Pillars of the West and the sound of the ultimate cataract swelled portentous from ahead. And the spray of that cataract rose to obscure the stars, and the deck grew damp, and the vessel reeled in the surging current of the brink. Then with a queer whistle and plunge the leap was taken, and Carter felt the terrors of nightmare as earth fell away and the great boat shot silent and comet-like into planetary space. Never before had he known what shapeless black things lurk and caper and flounder all through the aether, leering and grinning at such voyagers as may pass, and sometimes feeling about with slimy paws when some moving object excites their curiosity. These are the nameless larvae of the Other Gods, and like them are blind and without mind, and possessed of singular hungers and thirsts.
~ The Dream Quest of Unknown Kadath
Another statement about the Ultimate Void and the larval Ultimate Gods:
Then through the glittering vault ahead there fell a hush of portent, and all the winds and horrors slunk away as night things slink away before the dawn. Trembling in waves that golden wisps of nebula made weirdly visible, there rose a timid hint of far-off melody, droning in faint chords that our own universe of stars knows not. And as that music grew, the shantak raised its ears and plunged ahead, and Carter likewise bent to catch each lovely strain. It was a song, but not the song of any voice. Night and the spheres sang it, and it was old when space and Nyarlathotep and the Other Gods were born. Faster flew the shantak, and lower bent the rider, drunk with the marvels of strange gulfs, and whirling in the crystal coils of outer magic. Then came too late the warning of the evil one, the sardonic caution of the daemon legate who had bidden the seeker beware the madness of that song. Only to taunt had Nyarlathotep marked out the way to safety and the marvellous sunset city; only to mock had that black messenger revealed the secret of those truant gods whose steps he could so easily lead back at will. For madness and the void’s wild vengeance are Nyarlathotep’s only gifts to the presumptuous; and frantick though the rider strove to turn his disgusting steed, that leering, tittering shantak coursed on impetuous and relentless, flapping its great slippery wings in malignant joy, and headed for those unhallowed pits whither no dreams reach; that last amorphous blight of nethermost confusion where bubbles and blasphemes at infinity’s centre the mindless daemon-sultan Azathoth, whose name no lips dare speak aloud. Unswerving and obedient to the foul legate’s orders, that hellish bird plunged onward through shoals of shapeless lurkers and caperers in darkness, and vacuous herds of drifting entities that pawed and groped and groped and pawed; the nameless larvae of the Other Gods, that are like them blind and without mind, and possessed of singular hungers and thirsts.
~ The Dream Quest of Unknown Kadath

Notice that they keep mentioning Nyarlathotep, who is Azathoth’s primal kin, his soul and messenger, and also a horrific abomination of nature:


Nyarlathotep . . . the crawling chaos . . . I am the last . . . I will tell the audient void. . . .
~ Nyarlathotep
A description of Nyarlathotep’s role in the greater cosmology:
There were, in such voyages, incalculable local dangers; as well as that shocking final peril which gibbers unmentionably outside the ordered universe, where no dreams reach; that last amorphous blight of nethermost confusion which blasphemes and bubbles at the centre of all infinity—the boundless daemon-sultan Azathoth, whose name no lips dare speak aloud, and who gnaws hungrily in inconceivable, unlighted chambers beyond time amidst the muffled, maddening beating of vile drums and the thin, monotonous whine of accursed flutes; to which detestable pounding and piping dance slowly, awkwardly, and absurdly the gigantic ultimate gods, the blind, voiceless, tenebrous, mindless Other Gods whose soul and messenger is the crawling chaos Nyarlathotep.
~ The Dream Quest of Unknown Kadath

Nyarlathotep is fully capable of entering this Ultimate Void and interacting with it:

Out in the mindless void the daemon bore me, past the bright clusters of dimensioned space, till neither time nor matter stretched before me, But only Chaos, without form or place. Here the vast Lord of All in darkness muttered Things he had dreamed but could not understand, While near him shapeless bat-things flopped and fluttered In idiot vortices that ray-streams fanned. They danced insanely to the high, thin whining of a cracked flute clutched in a monstrous paw, whence flow the aimless waves whose chance combining gives each frail cosmos its eternal law. “I am His Messenger,” the daemon said, as in contempt he struck his Master’s head.
~ Fungi from Yuggoth, XXII. Azathoth

And seen in his titular story, he can bring whole groups to the Outer Void for the hell of it:

Nyarlathotep drave us all out, down the dizzy stairs into the damp, hot, deserted midnight streets. I screamed aloud that I was not afraid; that I never could be afraid; and others screamed with me for solace. We sware to one another that the city was exactly the same, and still alive; and when the electric lights began to fade we cursed the company over and over again, and laughed at the queer faces we made. I believe we felt something coming down from the greenish moon, for when we began to depend on its light we drifted into curious involuntary formations and seemed to know our destinations though we dared not think of them. Once we looked at the pavement and found the blocks loose and displaced by grass, with scarce a line of rusted metal to shew where the tramways had run. And again we saw a tram-car, lone, windowless, dilapidated, and almost on its side. When we gazed around the horizon, we could not find the third tower by the river, and noticed that the silhouette of the second tower was ragged at the top. Then we split up into narrow columns, each of which seemed drawn in a different direction. One disappeared in a narrow alley to the left, leaving only the echo of a shocking moan. Another filed down a weed-choked subway entrance, howling with a laughter that was mad. My own column was sucked toward the open country, and presently felt a chill which was not of the hot autumn; for as we stalked out on the dark moor, we beheld around us the hellish moon-glitter of evil snows. Trackless, inexplicable snows, swept asunder in one direction only, where lay a gulf all the blacker for its glittering walls. The column seemed very thin indeed as it plodded dreamily into the gulf. I lingered behind, for the black rift in the green-litten snow was frightful, and I thought I had heard the reverberations of a disquieting wail as my companions vanished; but my power to linger was slight. As if beckoned by those who had gone before, I half floated between the titanic snowdrifts, quivering and afraid, into the sightless vortex of the unimaginable. Screamingly sentient, dumbly delirious, only the gods that were can tell. A sickened, sensitive shadow writhing in hands that are not hands, and whirled blindly past ghastly midnights of rotting creation, corpses of dead worlds with sores that were cities, charnel winds that brush the pallid stars and make them flicker low. Beyond the worlds vague ghosts of monstrous things; half-seen columns of unsanctified temples that rest on nameless rocks beneath space and reach up to dizzy vacua above the spheres of light and darkness. And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods—the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep.
~ Nyarlathotep

However, he is a dweller of darkness and some of his avatars such as the Haunter of the Dark shun the light and seek its avoidance:

Those living near the dreaded church had sworn that the thing in the steeple had taken advantage of the street-lamps’ absence and gone down into the body of the church, flopping and bumping around in a viscous, altogether dreadful way. Toward the last it had bumped up to the tower, where there were sounds of the shattering of glass. It could go wherever the darkness reached, but light would always send it fleeing. When the current blazed on again there had been a shocking commotion in the tower, for even the feeble light trickling through the grime-blackened, louver-boarded windows was too much for the thing. It had bumped and slithered up into its tenebrous steeple just in time—for a long dose of light would have sent it back into the abyss whence the crazy stranger had called it. During the dark hour praying crowds had clustered round the church in the rain with lighted candles and lamps somehow shielded with folded paper and umbrellas—a guard of light to save the city from the nightmare that stalks in darkness. Once, those nearest the church declared, the outer door had rattled hideously.
~ The Haunter of the Dark

Though this is likely just his avatars and the true form which can contact the Ultimate Void obviously does not have such a weakness

Yog Sothoth

Above almost all outer gods is Yog-Sothoth:

Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again. He knows where They have trod earth’s fields, and where They still tread them, and why no one can behold Them as They tread.
~ The Whisperer in Darkness

He is without a doubt one of the largest beings in the entire mythos:

The archetypes, throbbed the waves, are the people of the ultimate abyss—formless, ineffable, and guessed at only by rare dreamers on the low-dimensioned worlds. Chief among such was this informing BEING itself . . . which indeed was Carter’s own archetype. The glutless zeal of Carter and all his forbears for forbidden cosmic secrets was a natural result of derivation from the SUPREME ARCHETYPE. On every world all great wizards, all great thinkers, all great artists, are facets of IT.
~ Through the Gates of the Silver Key

Even the ultimate archetypes of beings are still an insignificant facet of Yog-Sothoth:

In the face of that awful wonder, the quasi-Carter forgot the horror of destroyed individuality. It was an All-in-One and One-in-All of limitless being and self—not merely a thing of one Space-Time continuum, but allied to the ultimate animating essence of existence’s whole unbounded sweep—the last, utter sweep which has no confines and which outreaches fancy and mathematics alike. It was perhaps that which certain secret cults of earth have whispered of as YOG-SOTHOTH, and which has been a deity under other names; that which the crustaceans of Yuggoth worship as the Beyond-One, and which the vaporous brains of the spiral nebulae know by an untranslatable Sign—yet in a flash the Carter-facet realised how slight and fractional all these conceptions are. And now the BEING was addressing the Carter-facet in prodigious waves that smote and burned and thundered—a concentration of energy that blasted its recipient with well-nigh unendurable violence, and that followed, with certain definite variations, the singular unearthly rhythm which had marked the chanting and swaying of the Ancient Ones, and the flickering of the monstrous lights, in that baffling region beyond the First Gate. It was as though suns and worlds and universes had converged upon one point whose very position in space they had conspired to annihilate with an impact of resistless fury. But amidst the greater terror one lesser terror was diminished; for the searing waves appeared somehow to isolate the beyond-the-gate Carter from his infinity of duplicates—to restore, as it were, a certain amount of the illusion of identity. After a time the hearer began to translate the waves into speech-forms known to him, and his sense of horror and oppression waned. Fright became pure awe, and what had seemed blasphemously abnormal seemed now only ineffably majestic.
~ Through the Gates of the Silver Key

But why is Yog-Sothoth so? Why is he so unfathomable and supreme. It is simple, Yog-Sothoth is Lovecraft's vision of the Platonic/Neo-Platonic "Form of Good" or "The One." Yog-Sothoth is the ultimate archetype.

And here is another statement on how all archetypes are infinitesimal aspects of Yog-Sothoth. Yog Sothoth transcends all mathematics and notions of any reality or fantasy. Given that higher and more total infinities are a realized concept in the Cthulhu Mythos, it won't be a stretch to believe this includes Cantorian mathematics. He exceeds nearly all others in the Mythos including ultimate archetypes of beings and the Outer Gods, which would make him 1-A in my system, for he is not actually the supreme being of the Cthulhu Mythos. That would go to the aforementioned Sultan of Darkness, Azathoth.


He must meet the Black Man, and go with them all to the throne of Azathoth at the centre of ultimate Chaos. That was what she said. He must sign in his own blood the book of Azathoth and take a new secret name now that his independent delvings had gone so far. What kept him from going with her and Brown Jenkin and the other to the throne of Chaos where the thin flutes pipe mindlessly was the fact that he had seen the name “Azathoth” in the Necronomicon, and knew it stood for a primal evil too horrible for description
~ The Dreams in the Witch House
According to one of my personal favorites, and also his last published story, the chilling "Haunter of the Dark" declares that Azathoth is the "Lord of All Things:"
Before his eyes a kaleidoscopic range of phantasmal images played, all of them dissolving at intervals into the picture of a vast, unplumbed abyss of night wherein whirled suns and worlds of an even profounder blackness. He thought of the ancient legends of Ultimate Chaos, at whose centre sprawls the blind idiot god Azathoth, Lord of All Things, encircled by his flopping horde of mindless and amorphous dancers, and lulled by the thin monotonous piping of a daemoniac flute held in nameless paws.
~ The Haunter of the Dark

And yet, such a name is merely an apellation, for his true name is too terrible to utter:

The legend of Yig, Father of Serpents, remained figurative no longer, and I started with loathing when told of the monstrous nuclear chaos beyond angled space which the Necronomicon had mercifully cloaked under the name of Azathoth.
~ The Whisperer in Darkness

In April 27, 1937, Lovecraft’s assorted letter 4.617 gives this family tree. See that Azathoth "predates" Yog-Sothoth and his progenitor? Well, Azzy of Vs Battles Wiki says this perfectly:

This is in regards to Azathoth's position in the "hierarchy" of the mythos (if one can even describe such a thing as existing) and the family tree. Firstly, do not take the term "family tree" literally. It being presented as such is intentionally and clearly meant as a joke, especially within its original letter. Linear cause and effect is not in place at such an unfathomable level, as Lovecraft himself very obviously knew. However, the reason for its use is merely as further proof and a basic outline, with Azathoth as the source of all things, just as it is described and presented as within its appearances
~ Azathoth The Abyssal Idiot, Vs Battles Wiki

However, there is one myth I must dispell. That Azathoth's awakening will destroy all of the cosmology for all of it is a dream. This is taken from an interpretation of Fungi from Yuggoth, but Fungi from Yuggoth is a poem with metaphor inherently riddled through it and the quote itself is vague for even Lovecraft standards. Does it mean Azathoth dreams of the reality he is subsiding in and is shamblingly asleep and babbling like a sedentary sultan, or is he literally dreaming up the whole reality? The first one is more in line with common descriptions of how he is. Furthermore, the notion that when he wakes up, reality is destroyed, is not from him, but a being written by Lord Dunsay called Mana-Yood-Sushai, the creator god of existence:

Before there stood gods upon Olympus, or ever Allah was Allah, had wrought and rested MANA-YOOD-SUSHAI.
~ Gods of Pegana

And yet it's not even the master of all in its own cosmology:

In the mists before THE BEGINNING, Fate and Chance cast lots to decide whose the Game should be; and he that won strode through the mists to MANA-YOOD-SUSHAI and said: "Now make gods for Me, for I have won the cast and the Game is to be Mine." Who it was that won the cast, and whether it was Fate or whether Chance that went through the mists before THE BEGINNING to MANA-YOOD-SUSHAI—none knoweth
~ Gods of Pegana

The notion of the world ending by Azathoth's awakening had nothing to do with Lovecraft's Azathoth, but Dunsay's Mana-Yood-Sushai:

But, when at the last the arm of Skarl shall cease to beat his drum, silence shall startle Pegana like thunder in a cave, and MANA-YOOD-SUSHAI shall cease to rest. Then shall Skarl put his drum upon his back and walk forth into the void beyond the worlds, because it is THE END, and the work of Skarl is over. There may arise some other god whom Skarl may serve, or it may be that he shall perish; but to Skarl it shall matter not, for he shall have done the work of Skarl.
~ Gods of Pegana

and later on:

Whether the season be winter or whether it be summer, whether it be morning among the worlds or whether it be night, Skarl still beateth his drum, for the purposes of the gods are not yet fulfilled. Sometimes the arm of Skarl grows weary; but still he beateth his drum, that the gods may do the work of the gods, and the worlds go on, for if he cease for an instant then MANA-YOOD-SUSHAI will start awake, and there will be worlds nor gods no more.
~ Gods of Pegana

And none of this stuff was claimed for Azathoth, but a different character all together. And we don't know why Azathoth was lulled to sleep, rather we do not know based on Lovecraft's works. According to August Derleth, Azathoth was defeated by the combinded forces of the Outer Gods and forced to sleep.

In fact, if what I hear is true, the notion that Azathoth + wake up = bye bye reality is actually from Demonbane. So if you really want pedobane do dictate the powers of Azathoth, go on with it.

So Lovecraft gives us no real discernable information on Azathoth as to explain his slumber, and using Derleth's fanciful addendums to the Mythos adds characterization contradictory to his position. As such, while it wouldn't too ridiculous to assume Azathoth is above Yog Sothoth and other such ilk, there is no proof he is as ineffiably transcendant among his kin as compared to The Creator from Umineko or Gan from The Dark Tower.

However... He still gives Lovecraft himself the spooks (joke):

AZATHOTH—hideous name.
~ H.P Lovecraft, earliest mentioned of the Blind Idiot God

Wrapping up Loose Ends

So a major relic in Lovecraft's last story was the Shining Trapozehedron, which is obviously an interdimensional sword that can destroy Azathoth /s.

What it really is is a window to the cosmology of the Mythos:

There are references to a Haunter of the Dark awaked by gazing into the Shining Trapezohedron, and insane conjectures about the black gulfs of chaos from which it was called. The being is spoken of as holding all knowledge, and demanding monstrous sacrifices. Some of Blake’s entries shew fear lest the thing, which he seemed to regard as summoned, stalk abroad; though he adds that the street-lights form a bulwark which cannot be crossed. Of the Shining Trapezohedron he speaks often, calling it a window on all time and space, and tracing its history from the days it was fashioned on dark Yuggoth, before ever the Old Ones brought it to earth. It was treasured and placed in its curious box by the crinoid things of Antarctica, salvaged from their ruins by the serpent-men of Valusia, and peered at aeons later in Lemuria by the first human beings. It crossed strange lands and stranger seas, and sank with Atlantis before a Minoan fisher meshed it in his net and sold it to swarthy merchants from nighted Khem. The Pharaoh Nephren-Ka built around it a temple with a windowless crypt, and did that which caused his name to be stricken from all monuments and records. Then it slept in the ruins of that evil fane which the priests and the new Pharaoh destroyed, till the delver’s spade once more brought it forth to curse mankind.
~ The Haunter of the Dark

Here is a description of its appearance:

The four-inch seeming sphere turned out to be a nearly black, red-striated polyhedron with many irregular flat surfaces; either a very remarkable crystal of some sort, or an artificial object of carved and highly polished mineral matter. It did not touch the bottom of the box, but was held suspended by means of a metal band around its centre, with seven queerly designed supports extending horizontally to angles of the box’s inner wall near the top. This stone, once exposed, exerted upon Blake an almost alarming fascination. He could scarcely tear his eyes from it, and as he looked at its glistening surfaces he almost fancied it was transparent, with half-formed worlds of wonder within. Into his mind floated pictures of alien orbs with great stone towers, and other orbs with titan mountains and no mark of life, and still remoter spaces where only a stirring in vague blacknesses told of the presence of consciousness and will.
~ The Haunter of the Dark

And here is where is what's shown when Blake looks upon the stone:

Before he realised it, he was looking at the stone again, and letting its curious influence call up a nebulous pageantry in his mind. He saw processions of robed, hooded figures whose outlines were not human, and looked on endless leagues of desert lined with carved, sky-reaching monoliths. He saw towers and walls in nighted depths under the sea, and vortices of space where wisps of black mist floated before thin shimmerings of cold purple haze. And beyond all else he glimpsed an infinite gulf of darkness, where solid and semi-solid forms were known only by their windy stirrings, and cloudy patterns of force seemed to superimpose order on chaos and hold forth a key to all the paradoxes and arcana of the worlds we know.
~ The Haunter of the Dark

So yeah, the Shining Trapozehedron is a window into the cosmology. Which I find fitting for the relic shown in Lovecraft's last story. He would die soon afterwards of cancer, and could not write more on the Shining Trapozehedron, and the Haunter of the Dark (Nyarlathotep), and of the cosmology.

However, the Shining Trapozehedron really is a fitting example of the cosmology of the Lovecraft Mythos. For upon the glinted shape of the gem one sees viewports into varieties of fancies and realities. Much like the cosmology houses infinite viewports and angles to witness the transfinitude of possibilities across all dimensionality, scope, and mathematics. This is all viewed from the outside, the ultimate void betond all aforementioned dimensionality, scope, or mathematical formalism. Beyond logic and rationality. Absolutely boundless and ineffible and yawningly incomprehensible. The "genuine" and "ultimate" infinity mentioned The Whisperer in Darkness. An infinity whose truths are so terrifying that the only hatchetman to execute the end of the madness of he who views it is Nyarlathotep, among Lovecraft's first mentioned abominations. For he is the messenger the Azathoth king of a cosmology existing as Yog-Sothoth, who represents the ultimate and genuine infinity. The notion of a genuine and ultimate infinity are not to be taken lightly:

The actual infinite arises in three contexts: first when it is realized in the most complete form, in a fully independent otherworldly being, in Deo, where I call it the Absolute Infinite or simply Absolute; second when it occurs in the contingent, created world; third when the mind grasps it in abstracto as a mathematical magnitude, number or order type.
~ Georg Cantor

Absolute infinity is what the outer void, and by extension Yog Sothoth, are. The ultimate void, which is the genuine and ultimate infinite and can connect to Cantorian math in that conception, meaning it's beyond mathematical scope, dimensionality, reality, fantasy, dreams, time, and conception.

One Last Thing

I see the tier for Cthulhu and it really bothers me. I do not believe he is star level. Here is why.

The supposed justification for Cthulhu is this quote:

I have said that there were things in some of Akeley’s letters—especially the second and most voluminous one—which I would not dare to quote or even form into words on paper. This hesitancy applies with still greater force to the things I heard whispered that evening in the darkened room among the lonely haunted hills. Of the extent of the cosmic horrors unfolded by that raucous voice I cannot even hint. He had known hideous things before, but what he had learned since making his pact with the Outside Things was almost too much for sanity to bear. Even now I absolutely refuse to believe what he implied about the constitution of ultimate infinity, the juxtaposition of dimensions, and the frightful position of our known cosmos of space and time in the unending chain of linked cosmos-atoms which makes up the immediate super-cosmos of curves, angles, and material and semi-material electronic organisation. Never was a sane man more dangerously close to the arcana of basic entity—never was an organic brain nearer to utter annihilation in the chaos that transcends form and force and symmetry. I learned whence Cthulhu first came, and why half the great temporary stars of history had flared forth. I guessed—from hints which made even my informant pause timidly—the secret behind the Magellanic Clouds and globular nebulae, and the black truth veiled by the immemorial allegory of Tao. The nature of the Doels was plainly revealed, and I was told the essence (though not the source) of the Hounds of Tindalos. The legend of Yig, Father of Serpents, remained figurative no longer, and I started with loathing when told of the monstrous nuclear chaos beyond angled space which the Necronomicon had mercifully cloaked under the name of Azathoth. It was shocking to have the foulest nightmares of secret myth cleared up in concrete terms whose stark, morbid hatefulness exceeded the boldest hints of ancient and mediaeval mystics. Ineluctably I was led to believe that the first whisperers of these accursed tales must have had discourse with Akeley’s Outer Ones, and perhaps have visited outer cosmic realms as Akeley now proposed visiting them
~ The Whisperer in Darkness

The supposition is that in this quote, the protagonist learned of the coming of Cthulhu which lead to the novae of the "great temporary stars of history." However, I would argue that these two are completely unrelated statements. Notice the literary pattern in the whole quote. For context, the protagonist is trying to be convinced by Akeley to go visit him under the pretenses that there is untold amounts of knowledge. This includes what is mentioned above. In each sentence he notes two different things he learned of. I will explain by using the other comparisons in this:

I guessed—from hints which made even my informant pause timidly—the secret behind the Magellanic Clouds and globular nebulae, and the black truth veiled by the immemorial allegory of Tao
~ The Whisperer in Darkness

I do not know what the Magellanic Clouds have to do with Tao, because there is no justification. I have not read the story he is referring here, if there is one, but Tao is a reference to the hounds of Tindalos again:

He rose and strode to the mantel. When he faced me again he was holding a small square box in the palm of his hand. "I have here five pellets of the drug Liao. It was used by the Chinese philosopher Lao Tze, and while under its influence he visioned Tao. Tao is the most mysterious force in the world; it surrounds and pervades all things; it contains the visible universe and everything that we call reality. He who apprehends the mysteries of Tao sees clearly all that was and will be." "Rubbish!" I retorted. "Tao resembles a great animal, recumbent, motionless, containing in its enormous body all the worlds of our universe, the past, the present and the future. We see portions of this great monster through a slit, which we call time. With the aid of this drug I shall enlarge the slit. I shall behold the great figure of life, the great recumbent beast in its entirety." "And what do you wish me to do?" "Watch, my friend. Watch and take notes. And if I go back too far you must recall me to reality. You can recall me by shaking me violently. If I appear to be suffering acute physical pain you must recall me at once."
~ The Hounds of Tindalos

Tao is an allegory for the duality and wholeness of reality, another reference to the greater cosmology of existence represented in avatar form as the Shining Trapozehedron. You achieve the discovery of Tao the same way the characters of Hypnos, The Dreams in the Witchhouse, and through the Gates of the Silver Key; it has little to do with the Magellanic clouds I would reckon.

The nature of the Doels was plainly revealed, and I was told the essence (though not the source) of the Hounds of Tindalos.
~ The Whisperer in Darkness

I admit the Doels are a creation of Frank Belknap Long like the Hounds of Tindalos, and they are mentioned in the same story:

Beside the body were several sheets of charred yellow paper. These bore fantastic geometric designs and symbols and several hastily scrawled sentences. The sentences were almost illegible and so absurd in content that they furnished no possible clue to the perpetrator of the crime. "I am waiting and watching," Chalmers wrote. "I sit by the window and watch walls and ceiling. I do not believe they can reach me. but I must beware of the Doels. Perhaps they can help them break through. The satyrs will help, and they can advance through the scarlet circles. The Greeks knew a way of preventing that. It is a great pity that we have forgotten so much."
~ The Hounds of Tindalos

However, there is real no correlation as they first appeared in an earlier story called the Space Eaters. They both just exist from beyond space and time and Lovecraft is affectionately referencing them to acknowledge Frank Belknap Long's works.

The legend of Yig, Father of Serpents, remained figurative no longer, and I started with loathing when told of the monstrous nuclear chaos beyond angled space which the Necronomicon had mercifully cloaked under the name of Azathoth.
~ The Whisperer in Darkness

There is absolutely no connection between Azathoth and Yig, not by family tree, not in reference to eachother. Not in theme, not in position, and not in story canon. The Curse of Yig is a localized story about some local demon god, and in the story there is no reference to the outer gods or outer cosmology, let alone the Blind Idiot God.

So the three other things listed in the quote are ill-related, so why must one assume that Cthulhu and the flaring stars are connected? Parallelism is important for well written literature, and Lovecraft is among the best at literature. And being generous and assuming that the two are connected, does this necessarily mean Cthulhu himself is busting the stars? Why not assume that this is just due to some cosmic calendrical ritual? In fact, when there are references to stars in The Call of Cthulhu, first off it has to do with the arrangement of the stars and second off that's exactly what such cosmic event is implied:

Old Castro remembered bits of hideous legend that paled the speculations of theosophists and made man and the world seem recent and transient indeed. There had been aeons when other Things ruled on the earth, and They had had great cities. Remains of Them, he said the deathless Chinamen had told him, were still to be found as Cyclopean stones on islands in the Pacific. They all died vast epochs of time before men came, but there were arts which could revive Them when the stars had come round again to the right positions in the cycle of eternity. They had, indeed, come themselves from the stars, and brought Their images with Them. These Great Old Ones, Castro continued, were not composed altogether of flesh and blood. They had shape—for did not this star-fashioned image prove it?—but that shape was not made of matter. When the stars were right, They could plunge from world to world through the sky; but when the stars were wrong, They could not live. But although They no longer lived, They would never really die. They all lay in stone houses in Their great city of R’lyeh, preserved by the spells of mighty Cthulhu for a glorious resurrection when the stars and the earth might once more be ready for Them.
~ The Call of Cthulhu

And looking through Lovecraft's other works, I see no reference to Cthulhu causing stars to flare forward. So in conclusion to this, there was no connection between Cthulhu's advent and the stars flaring forth due to no other thing learned in the list being connected and thus due to literary parallelism kicking in, and if there was a connection it is vague and to jump to "Well Cthuhlu destroyed the stars" is pretty fallacious and contradictory as there is no such reference in any of Lovecraft's

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