Jewels of Gwahlur — Reading Companion
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The source record for Jewels of Gwahlur — Reading Companion measures this digital text at 20,591 words, 1 hr 30 min estimated reading time, and 2 detected text sections.
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Project Gutenberg metadata also associates the work with “Fantasy fiction, American,” connecting these edition facts with the source record’s subject description.
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Keshan was a barbaric kingdom lying in the eastern hinterlands of Kush where the broad grasslands merge with the forests that roll up from the south. The people were a mixed race, a dusky nobility ruling a population that was largely pure negro. The rulers--princes and high priests--claimed descent from a white race which, in a mythical age, had ruled a kingdom whose capital city was Alkmeenon. Conflicting legends sought to explain the reason for that race's eventual downfall, and the abandonment of the city by the survivors. Equally nebulous were the tales of the Teeth of Gwahlur, the treasure of Alkmeenon. But these misty legends had been enough to bring Conan to Keshan, over vast distances of plain, river-laced jungle, and mountains.
He had found Keshan, which in itself was considered mythical by many northern and western nations, and he had heard enough to confirm the rumors of the treasure that men called the Teeth of Gwahlur. But its hiding-place he could not learn, and he was confronted with the necessity of explaining his presence in Keshan. Unattached strangers were not welcome there.
But he was not nonplussed. With cool assurance he made his offer to the stately plumed, suspicious grandees of the barbarically magnificent court. He was a professional fighting-man. In search of employment (he said) he had come to Keshan. For a price he would train the armies of Keshan and lead them against Punt, their hereditary enemy, whose recent successes in the field had aroused the fury of Keshan's irascible king.
This proposition was not so audacious as it might seem. Conan's fame had preceded him, even into distant Keshan; his exploits as a chief of the black corsairs, those wolves of the southern coasts, had made his name known, admired and feared throughout the black kingdoms. He did not refuse tests devised by the dusky lords. Skirmishes along the borders were incessant, affording the Cimmerian plenty of opportunities to demonstrate his ability at hand-to-hand fighting. His reckless ferocity impressed the lords of Keshan, already aware of his reputation as a leader of men, and the prospects seemed favorable. All Conan secretly desired was employment to give him legitimate excuse for remaining in Keshan long enough to locate the hiding-place of the Teeth of Gwahlur. Then there came an interruption. Thutmekri came to Keshan at the head of an embassy from Zembabwei.
Thutmekri was a Stygian, an adventurer and a rogue whose wits had recommended him to the twin kings of the great hybrid trading kingdom which lay many days' march to the east. He and the Cimmerian knew each other of old, and without love. Thutmekri likewise had a proposition to make to the king of Keshan, and it also concerned the conquest of Punt--which kingdom, incidentally, lying east of Keshan, had recently expelled the Zembabwan traders and burned their fortresses.
His offer outweighed even the prestige of Conan. He pledged himself to invade Punt from the east with a host of black spearmen, Shemitish archers, and mercenary swordsmen, and to aid the king of Keshan to annex the hostile kingdom. The benevolent kings of Zembabwei desired only a monopoly of the trade of Keshan and her tributaries--and, as a pledge of good faith, some of the Teeth of Gwahlur. These would be put to no base usage. Thutmekri hastened to explain to the suspicious chieftains; they would be placed in the temple of Zembabwei beside the squat gold idols of Dagon and Derketo, sacred guests in the holy shrine of the kingdom, to seal the covenant between Keshan and Zembabwei. This statement brought a savage grin to Conan's hard lips.
The Cimmerian made no attempt to match wits and intrigue with Thutmekri and his Shemitish partner, Zargheba. He knew that if Thutmekri won his point, he would insist on the instant banishment of his rival. There was but one thing for Conan to do: find the jewels before the king of Keshan made up his mind and flee with them. But by this time he was certain that they were not hidden in Keshia, the royal city which was a swarm of thatched huts crowding about a mud wall that enclosed a palace of stone and mud and bamboo.
While he fumed with nervous impatience, the high priest Gorulga announced that before any decision could be reached, the will of the gods must be ascertained concerning the proposed alliance with Zembabwei and the pledge of objects long held holy and inviolate. The oracle of Alkmeenon must be consulted.
Robert E. Howard opens 'Jewels of Gwahlur' with Conan scaling a cliff, a sequence that immediately establishes the story's physicality. The prose is dense with tactile verbs—'clawing, squirming, fighting'—and precise visual details: 'jade-blue and dull crimson' stone, 'winking' quartz. This is not a generic climb; the narrator notes Conan's hillman heritage and his 'iron muscles,' grounding the action in character. The discovery of a mummy in a niche, clutching a parchment, introduces the quest object without fanfare. Howard's diction here is economical: the mummy is 'shrivelled,' the thongs 'rotted wisps,' the parchment 'yellowed with age to the color of old ivory.' The scene conveys both danger and antiquity through concrete, sensory language.
Diction of Physical Strain
Howard's word choice in the opening climb emphasizes effort and vulnerability. Conan does not simply climb; he 'labors,' 'clings like a fly,' and 'virtually hung by his finger nails.' The verbs are active and varied: 'groping,' 'clawing,' 'squirming,' 'fighting.' This accumulation of physical verbs creates a rhythm of exertion. The narrator also specifies that Conan 'shakes the sweat out of his eyes' and 'twists his head to stare searchingly,' small actions that reinforce the character's exhaustion and vigilance. Howard avoids abstract descriptions of fatigue; instead, he shows it through bodily details. The climb is not a mere prelude but a sustained test, and the diction ensures the reader feels every precarious hold.
Dialogue and Deception
Dialogue in the excerpt reveals character through brevity and tone. When Muriela gasps, 'Take me away! Oh, please take me away!' her desperation is clear, but Conan's reply is curt and practical: 'We can't go yet.' He does not comfort her; he commands. Later, when he discovers the goddess's body, his exclamation—'Crom!'—is a single, culturally specific oath that signals his Cimmerian background. His questions to Muriela are sharp: 'What in thunder are you doing?' and 'Is this any time to be playing jokes?' The dialogue is functional, advancing the plot while revealing Conan's impatience and Muriela's fear. Howard uses few words to convey power dynamics and emotional states.
Description of the Supernatural
When Conan realizes the goddess Yelaya has returned, Howard's description shifts from physical to eerie. The body is 'cold immobility of death,' and Conan's reaction is visceral: he snatches his hand away 'as if it had encountered hot iron.' The prose highlights the uncanny: the skirt that was torn is now 'showing no rent,' and the jewels are back in place. Howard uses concrete details to evoke the supernatural without explicit explanation. The 'peculiar prickling' at Conan's scalp and the 'slits of bale-fire' in his eyes convey his unease. The secret door is discovered through a 'thin perpendicular crack' and a 'wisp of silk'—mundane clues that lead to a mysterious vanishing. The description balances the fantastic with the tangible.
Structure of Suspense
Howard builds suspense through careful pacing and revelation. The climb is slow and detailed, then the mummy's discovery is abrupt. Later, the scene in the oracle chamber alternates between action and stillness: Conan drags Gwarunga, hears a scream, dashes in, and halts. The narrative withholds information—Muriela's fate, the goddess's return—until Conan sees the clues. The bit of silk caught in the door is a small, physical detail that drives the plot forward. Howard also uses repetition: Conan's search for Muriela echoes his earlier search for the jewels, creating a pattern of pursuit. The structure mirrors the protagonist's methodical yet urgent approach to danger.
Readers attentive to Howard's craft will notice how he builds a world through sensory specifics: the feel of stone, the weight of a parchment, the coldness of a corpse. The story's tension arises not from abstract threats but from concrete, physical details and terse dialogue. Pay attention to the verbs and the small objects—a wisp of silk, a crack in marble—that carry the narrative forward. These choices, not plot summaries, reveal Howard's skill in creating a vivid, suspenseful adventure.
There’s something about Howard’s climb up that cliff, the mummy’s stillness, that reminds me of other quiet watchings—like the patient blue-roan waiting in the corral shadows. Both worlds hold their breath, waiting for a return that changes everything. It’s a lonely feeling, but a true one. Tales from the X-bar Horse Camp: The Blue-Roan "Outlaw" and Other Stories — Inside the Classic lingers in that same space.
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