Information

Which languages did H.P. Lovecraft understand?


H.P. Lovecraft (1890-1937) wrote his stories (including the "Cthulhu Mythos") in English, but his Wikipedia page notes that several French authors provided commentary on his stories. It doesn't clarify if he corresponded with them though, so it's not clear to me if he actually understood French.

Which languages did H.P. Lovecraft understand (in either spoken or written form)? Unfortunately, neither the Wikipedia article itself, nor other sources I can find, actually say which languages he knew.


Although I can find no evidence that H.P.Lovecraft understood French, he was accomplished enough in Latin to translate texts and, judging by this letter cited in Classical Traditions in Modern Fantasy, not unfamiliar with the spoken language either:

Latin and Greek were my delight - although I had long-standing feud with teachers of the former over pronunciation. My grandfather had previously taught me a great deal of Latin, using the traditional English pronunciation taught in his day, but at school I was expected to follow the "Roman method"…

Lovecraft started learning Latin from his grandfather in 1898 when he was eight years old. By 1902 (by S. T. Joshi's estimate), he had translated "the first eighty-eight lines of Ovid's Metamorphoses." He also had at least some knowledge of Greek as An H. P. Lovecraft Encyclopedia (p209) says

HPL's surviving juvenile poetry consists largely of imitations or translations of Greek and Latin epics

(note: this thread says Joshi describes Lovecraft's Greek as rubbish, but I've been unable to confirm this)

Joshi, in A Visionary and A Dreamer: H. P. Lovecraft in his Time, further states:

In 1908 Lovecraft stood at the threshold of adulthood: he was doing reasonably well at Hope Street High School, he had become prodigiously learned in chemistry, geography, astronomy, and meteorology, and he was accomplished in belles-lettres as a Latinist, poet, and fiction writer.

Franz Rottensteiner, in a review of another Joshi book, H.P. Lovecraft: The Decline of the West, casts some doubt as the extent of Lovecraft's Latin, but at the same time indicates some knowledge of Spanish:

He had almost no formal education and was almost entirely self-taught. Even though he was able to formulate Latin sentences and correct the Spanish grammar of his correspondents, it seems less than probable that he was sufficiently fluent in any language other than English to read books on difficult philosophical subjects published in that language.


The biographies of H.P Lovecraft all indicate that his education was interrupted by periods of illness. Also, as @T.E.D. noted above, he lived his entire life in the northeast United States, and probably had limited opportunities for interaction with non-English speakers.

Although I haven't been able to locate any document that explicitly states that Lovecraft was monolingual, I was able to locate references to a letter written by Lovecraft to Robert E. Howard, dated 29 March 1933, in which he states:

"… I am abysmally weak in modern languages, and mathematics, and in certain phases of history… ".

The letter is apparently published in the collection A Means to Freedom: The Letters of H. P. Lovecraft and Robert E. Howard, edited by S. T. Joshi, David E. Schultz, and Rusty Burke.

Given the above, it seems likely that Lovecraft was essentially monolingual.


H.P. Lovecraft

Our editors will review what you’ve submitted and determine whether to revise the article.

H.P. Lovecraft, in full Howard Phillips Lovecraft, (born August 20, 1890, Providence, Rhode Island, U.S.—died March 15, 1937, Providence), American author of fantastic and macabre short novels and stories, one of the 20th-century masters of the Gothic tale of terror.

Lovecraft was interested in science from childhood, but lifelong poor health prevented him from attending college. He made his living as a ghostwriter and rewrite man and spent most of his life in seclusion and poverty. His fame as a writer increased after his death.

From 1923 on, most of Lovecraft’s short stories appeared in the magazine Weird Tales. His Cthulhu Mythos series of tales describe ordinary New Englanders’ encounters with horrific beings of extraterrestrial origin. In these short stories, Lovecraft’s intimate knowledge of New England’s geography and culture is blended with an elaborate original mythology. His other short stories deal with similarly terrifying phenomena in which horror and morbid fantasy acquire an unexpected verisimilitude. The Case of Charles Dexter Ward (1927 published posthumously 1941), At the Mountains of Madness (1931, published 1936), and The Shadow over Innsmouth (1931, published 1936) are considered his best short novels. Lovecraft was a master of poetic language, and he attained unusually high literary standards in his particular fictional genre.

The Editors of Encyclopaedia Britannica This article was most recently revised and updated by Adam Augustyn, Managing Editor, Reference Content.


1. H.P. Lovecraft had a tough childhood.

Born on August 20, 1890, Howard Phillips Lovecraft grew up under tragic, bizarre circumstances. His father, suffering from what was likely syphilis-induced psychosis, entered Providence’s Butler Hospital in 1893 and died there in 1898. (His mother went into the same mental hospital after World War I.) Lovecraft’s grandfather told him horror stories, and Lovecraft honed his lurid imagination by devouring Edgar Allan Poe and Grimm’s Fairy Tales. After his grandfather’s death, his family fell into poverty, and he had a nervous breakdown before graduating high school.


Ten things you should know about HP Lovecraft

“I know always that I am an outsider a stranger in this century and among those who are still men”: HP Lovecraft, pictured in 1934, was born on this day in 1890. Photograph: Everett Collection/REX Photograph: Everett Collection/REX

“I know always that I am an outsider a stranger in this century and among those who are still men”: HP Lovecraft, pictured in 1934, was born on this day in 1890. Photograph: Everett Collection/REX Photograph: Everett Collection/REX

Last modified on Thu 22 Feb 2018 13.08 GMT

1. Both his mother and father were separately committed to the same mental institution

Winfield Scott Lovecraft was committed to Butler Hospital after being diagnosed with psychosis when HP Lovecraft was only three years old. He died in 1898, when HP was eight. To this day, rumours persist that Winfield had syphilis, but neither HP nor his mother ever displayed symptoms.

Sarah Susan Phillips Lovecraft was later committed to Butler in 1919. She remained in close correspondence with her son for two years, until she died of complications after surgery.

2. He wanted to be a professional astronomer but never finished high school

As a sickly child, Lovecraft only attended school sporadically and was essentially self-educated. He was drawn to astronomy and chemistry, and the writings of gothic authors such as Edgar Allan Poe. Due to what he termed a “nervous breakdown”, Lovecraft never finished high school and instead only dabbled informally in his passions.

3. He rarely went out in public during daylight

Lovecraft would only leave the house after sunset, staying up late to study science and astronomy and to read and write. He would routinely sleep late into the day, developing the pale and gaunt bearing he is now known for. Lovecraft’s mother reportedly called him “grotesque” during his childhood and warned him to hide inside so people couldn’t see him. In 1926, he wrote:

I am essentially a recluse who will have very little to do with people wherever he may be. I think that most people only make me nervous - that only by accident, and in extremely small quantities, would I ever be likely to come across people who wouldn’t.

4. He was best buddies with Harry Houdini

In 1924, Lovecraft was asked by the editor of Weird Tales to ghostwrite a column by magician Harry Houdini. After hearing from Houdini his apparently true tale about being kidnapped by an Egyptian tour guide and encountering the deity who inspired the Great Sphinx of Giza, Lovecraft concluded it was complete rubbish - but settled for a big advance and wrote the story. “Under the Pyramids” was published later that year, much to Houdini’s delight, who kept seeking out work for Lovecraft until his death in 1926.

5. He wrote an estimated 100,000 letters in his lifetime

If this figure is correct, it would place HP Lovecraft as second only to French writer Voltaire. Lovecraft regularly wrote to friends, family and enthusiastic amateur writers, many of whom adopted themes, style and even characters from his work. His most regular correspondents were fellow writers Robert Bloch (author of Psycho), Henry Kuttner (The Dark World), Robert E Howard (Conan the Barbarian) and the poet Samuel Loveman.

6. He really didn’t like sex

After his death, Sonia Lovecraft told a Lovecraft scholar that he was a virgin when they married in 1924, aged 34. Before their marriage, Lovecraft reportedly bought numerous books about sex and studied them in order to perform on their wedding night. Sonia later said she had to initiate all sexual activity, saying:

The very mention of the word sex seemed to upset him. He did, however, make the statement once that if a man cannot be or is not married at the greatest height of his sex-desire, which in his case, he said, was at age 19, he became somewhat unappreciative of it after he passed thirty. I was somewhat shocked but held my peace.

7. He suffered night terrors

No, not nightmares: HP Lovecraft began experiencing the parasomnia ‘night terrors’ from the age of six. Night terrors cause the sufferer to physically move or scream to escape waking dreams, and are estimated to affect 3% of adults. HP dreamed of what he called “nightgaunts” which later appeared in his books as thin, black, and faceless humanoids that tickle their victims into submission.

Lovecraft’s affliction fed into his dreamlike, nightmarish prose, but also fuelled it. In a 1918 letter, he wrote:

Do you realise that to many men it makes a vast and profound difference whether or not the things about them are as they appear. If TRUTH amounts to nothing, then we must regard the phantasma of our slumbers just as seriously as the events of our daily lives.

8. He inspired Batman, Black Sabbath, South Park and more

Or Batman’s city, at least. Batman puts his dastardly criminals away in Arkham Asylum, Arkham being the name of the fictional city HP Lovecraft created as a setting for many of his stories. Cthulu appeared in an episode of South Park and killed Justin Bieber. Black Sabbath’s album Behind the Wall of Sleep is named for a Lovecraft short story. The Book of the Dead, discovered in a cabin in Sam Raimi’s Evil Dead films, is based on Lovecraft’s Necronomicon. Today you can find the Necronomicon in all good bookstores, without unleashing a zombie apocalypse.

9. HP Lovecraft isn’t buried under his headstone

Lovecraft died of cancer of the small intestine in 1937. In keeping with his lifelong fascination with science, he kept a detailed diary of his eventually mortal illness. When he died, Lovecraft was buried in Swan Point Cemetery and listed on his mother’s family’s monument. This wasn’t enough for Lovecraft’s fans: in 1977, a group funded and installed a separate headstone. In 1997, a particularly avid fan attempted to dig up Lovecraft’s corpse under the headstone, but gave up after finding nothing from digging three feet.

10. Cthulhu is pronounced ‘khlul-loo’ (because we’ve all wondered at some point)

In a 1934 letter to amateur writer Duane W Rimel, Lovecraft explained how to pronounce the name of his alien creation:

The name of the hellish entity was invented by beings whose vocal organs were not like man’s, hence it has no relation to the human speech equipment. The syllables were determined by a physiological equipment wholly unlike ours, hence could never be uttered perfectly by human throats. The actual sound – as nearly as any human organs could imitate it or human letters record it – may be taken as something like Khlûl’-hloo, with the first syllable pronounced gutturally and very thickly. The u is about like that in full and the first syllable is not unlike klul in sound, hence the h represents the guttural thickness.


4. Taken Too Soon

Lovecraft was only three years old when his father, Winfield, was committed to Butler Hospital in Providence following a psychotic episode. Information on this incident is hazy, but it seems that Winfield spent a year in torment before being committed. Winfield never left Butler Hospital, dying of general paresis just five years later.

Wikipedia

In his work, Lovecraft talked about doors to other worlds. It was at his dinner party, that he and his friends successfully opened the door to Purgatory and glimpsed beings he called "the Old Ones". By opening a door to Purgatory, he and his friends consequently let out Dr. Visyak, a non-hostile being. This being proceeded to take Lovecraft's maid Eleanor as a vessel, without anyone's knowledge.

Following the party, Lovecraft and his guests were killed off one by one by Visyak in order to protect Purgatory's secret. Lovecraft was writing a novel at the time of his death. He noticed sounds outside his study somewhere, and locked the door. He reached out for his gun in an attempt to defend himself, but to no avail. The unseen assailant broke through the window and killed the writer.

His knowledge and experience with Purgatory was revealed to Bobby, who then told the Winchesters, through a photocopy of a Campbell diary that Castiel had stolen from Judah.


Which languages did H.P. Lovecraft understand? - History

I. Introduction
The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown. These facts few psychologists will dispute, and their admitted truth must establish for all time the genuineness and dignity of the weirdly horrible tale as a literary form. Against it are discharged all the shafts of a materialistic sophistication which clings to frequently felt emotions and external events, and of a naively insipid idealism which deprecates the aesthetic motive and calls for a didactic literature to uplift the reader toward a suitable degree of smirking optimism. But in spite of all this opposition the weird tale has survived, developed, and attained remarkable heights of perfection founded as it is on a profound and elementary principle whose appeal, if not always universal, must necessarily be poignant and permanent to minds of the requisite sensitiveness.
The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from every-day life. Relatively few are free enough from the spell of the daily routine to respond to rappings from outside, and tales of ordinary feelings and events, or of common sentimental distortions of such feelings and events, will always take first place in the taste of the majority rightly, perhaps, since of course these ordinary matters make up the greater part of human experience. But the sensitive are always with us, and sometimes a curious streak of fancy invades an obscure corner of the very hardest head so that no amount of rationalisation, reform, or Freudian analysis can quite annul the thrill of the chimney-corner whisper or the lonely wood. There is here involved a psychological pattern or tradition as real and as deeply grounded in mental experience as any other pattern or tradition of mankind coeval with the religious feeling and closely related to many aspects of it, and too much a part of our inmost biological heritage to lose keen potency over a very important, though not numerically great, minority of our species.
Man&rsquos first instincts and emotions formed his response to the environment in which he found himself. Definite feelings based on pleasure and pain grew up around the phenomena whose causes and effects he understood, whilst around those which he did not understand&mdashand the universe teemed with them in the early days&mdashwere naturally woven such personifications, marvellous interpretations, and sensations of awe and fear as would be hit upon by a race having few and simple ideas and limited experience. The unknown, being likewise the unpredictable, became for our primitive forefathers a terrible and omnipotent source of boons and calamities visited upon mankind for cryptic and wholly extra-terrestrial reasons, and thus clearly belonging to spheres of existence whereof we know nothing and wherein we have no part. The phenomenon of dreaming likewise helped to build up the notion of an unreal or spiritual world and in general, all the conditions of savage dawn-life so strongly conduced toward a feeling of the supernatural, that we need not wonder at the thoroughness with which man&rsquos very hereditary essence has become saturated with religion and superstition. That saturation must, as a matter of plain scientific fact, be regarded as virtually permanent so far as the subconscious mind and inner instincts are concerned for though the area of the unknown has been steadily contracting for thousands of years, an infinite reservoir of mystery still engulfs most of the outer cosmos, whilst a vast residuum of powerful inherited associations clings around all the objects and processes that were once mysterious, however well they may now be explained. And more than this, there is an actual physiological fixation of the old instincts in our nervous tissue, which would make them obscurely operative even were the conscious mind to be purged of all sources of wonder.
Because we remember pain and the menace of death more vividly than pleasure, and because our feelings toward the beneficent aspects of the unknown have from the first been captured and formalised by conventional religious rituals, it has fallen to the lot of the darker and more maleficent side of cosmic mystery to figure chiefly in our popular supernatural folklore. This tendency, too, is naturally enhanced by the fact that uncertainty and danger are always closely allied thus making any kind of an unknown world a world of peril and evil possibilities. When to this sense of fear and evil the inevitable fascination of wonder and curiosity is superadded, there is born a composite body of keen emotion and imaginative provocation whose vitality must of necessity endure as long as the human race itself. Children will always be afraid of the dark, and men with minds sensitive to hereditary impulse will always tremble at the thought of the hidden and fathomless worlds of strange life which may pulsate in the gulfs beyond the stars, or press hideously upon our own globe in unholy dimensions which only the dead and the moonstruck can glimpse.
With this foundation, no one need wonder at the existence of a literature of cosmic fear. It has always existed, and always will exist and no better evidence of its tenacious vigour can be cited than the impulse which now and then drives writers of totally opposite leanings to try their hands at it in isolated tales, as if to discharge from their minds certain phantasmal shapes which would otherwise haunt them. Thus Dickens wrote several eerie narratives Browning, the hideous poem &ldquoChilde Roland&rdquo Henry James, The Turn of the Screw Dr. Holmes, the subtle novel Elsie Venner F. Marion Crawford, &ldquoThe Upper Berth&rdquo and a number of other examples Mrs. Charlotte Perkins Gilman, social worker, &ldquoThe Yellow Wall Paper&rdquo whilst the humourist W. W. Jacobs produced that able melodramatic bit called &ldquoThe Monkey&rsquos Paw&rdquo.
This type of fear-literature must not be confounded with a type externally similar but psychologically widely different the literature of mere physical fear and the mundanely gruesome. Such writing, to be sure, has its place, as has the conventional or even whimsical or humorous ghost story where formalism or the author&rsquos knowing wink removes the true sense of the morbidly unnatural but these things are not the literature of cosmic fear in its purest sense. The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain&mdasha malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space.
Naturally we cannot expect all weird tales to conform absolutely to any theoretical model. Creative minds are uneven, and the best of fabrics have their dull spots. Moreover, much of the choicest weird work is unconscious appearing in memorable fragments scattered through material whose massed effect may be of a very different cast. Atmosphere is the all-important thing, for the final criterion of authenticity is not the dovetailing of a plot but the creation of a given sensation. We may say, as a general thing, that a weird story whose intent is to teach or produce a social effect, or one in which the horrors are finally explained away by natural means, is not a genuine tale of cosmic fear but it remains a fact that such narratives often possess, in isolated sections, atmospheric touches which fulfil every condition of true supernatural horror-literature. Therefore we must judge a weird tale not by the author&rsquos intent, or by the mere mechanics of the plot but by the emotional level which it attains at its least mundane point. If the proper sensations are excited, such a &ldquohigh spot&rdquo must be admitted on its own merits as weird literature, no matter how prosaically it is later dragged down. The one test of the really weird is simply this&mdashwhether or not there be excited in the reader a profound sense of dread, and of contact with unknown spheres and powers a subtle attitude of awed listening, as if for the beating of black wings or the scratching of outside shapes and entities on the known universe&rsquos utmost rim. And of course, the more completely and unifiedly a story conveys this atmosphere, the better it is as a work of art in the given medium.

II. The Dawn of the Horror-Tale
As may naturally be expected of a form so closely connected with primal emotion, the horror-tale is as old as human thought and speech themselves.
Cosmic terror appears as an ingredient of the earliest folklore of all races, and is crystallised in the most archaic ballads, chronicles, and sacred writings. It was, indeed, a prominent feature of the elaborate ceremonial magic, with its rituals for the evocation of daemons and spectres, which flourished from prehistoric times, and which reached its highest development in Egypt and the Semitic nations. Fragments like the Book of Enoch and the Claviculae of Solomon well illustrate the power of the weird over the ancient Eastern mind, and upon such things were based enduring systems and traditions whose echoes extend obscurely even to the present time. Touches of this transcendental fear are seen in classic literature, and there is evidence of its still greater emphasis in a ballad literature which paralleled the classic stream but vanished for lack of a written medium. The Middle Ages, steeped in fanciful darkness, gave it an enormous impulse toward expression and East and West alike were busy preserving and amplifying the dark heritage, both of random folklore and of academically formulated magic and cabbalism, which had descended to them. Witch, werewolf, vampire, and ghoul brooded ominously on the lips of bard and grandam, and needed but little encouragement to take the final step across the boundary that divides the chanted tale or song from the formal literary composition. In the Orient, the weird tale tended to assume a gorgeous colouring and sprightliness which almost transmuted it into sheer phantasy. In the West, where the mystical Teuton had come down from his black Boreal forests and the Celt remembered strange sacrifices in Druidic groves, it assumed a terrible intensity and convincing seriousness of atmosphere which doubled the force of its half-told, half-hinted horrors.
Much of the power of Western horror-lore was undoubtedly due to the hidden but often suspected presence of a hideous cult of nocturnal worshippers whose strange customs&mdashdescended from pre-Aryan and pre-agricultural times when a squat race of Mongoloids roved over Europe with their flocks and herds&mdashwere rooted in the most revolting fertility-rites of immemorial antiquity. This secret religion, stealthily handed down amongst peasants for thousands of years despite the outward reign of the Druidic, Graeco-Roman, and Christian faiths in the regions involved, was marked by wild &ldquoWitches&rsquo Sabbaths&rdquo in lonely woods and atop distant hills on Walpurgis-Night and Hallowe&rsquoen, the traditional breeding-seasons of the goats and sheep and cattle and became the source of vast riches of sorcery-legend, besides provoking extensive witchcraft-prosecutions of which the Salem affair forms the chief American example. Akin to it in essence, and perhaps connected with it in fact, was the frightful secret system of inverted theology or Satan-worship which produced such horrors as the famous &ldquoBlack Mass&rdquo whilst operating toward the same end we may note the activities of those whose aims were somewhat more scientific or philosophical&mdashthe astrologers, cabbalists, and alchemists of the Albertus Magnus or Raymond Lully type, with whom such rude ages invariably abound. The prevalence and depth of the mediaeval horror-spirit in Europe, intensified by the dark despair which waves of pestilence brought, may be fairly gauged by the grotesque carvings slyly introduced into much of the finest later Gothic ecclesiastical work of the time the daemoniac gargoyles of Notre Dame and Mont St. Michel being among the most famous specimens. And throughout the period, it must be remembered, there existed amongst educated and uneducated alike a most unquestioning faith in every form of the supernatural from the gentlest of Christian doctrines to the most monstrous morbidities of witchcraft and black magic. It was from no empty background that the Renaissance magicians and alchemists&mdashNostradamus, Trithemius, Dr. John Dee, Robert Fludd, and the like&mdashwere born.
In this fertile soil were nourished types and characters of sombre myth and legend which persist in weird literature to this day, more or less disguised or altered by modern technique. Many of them were taken from the earliest oral sources, and form part of mankind&rsquos permanent heritage. The shade which appears and demands the burial of its bones, the daemon lover who comes to bear away his still living bride, the death-fiend or psychopomp riding the night-wind, the man-wolf, the sealed chamber, the deathless sorcerer&mdashall these may be found in that curious body of mediaeval lore which the late Mr. Baring-Gould so effectively assembled in book form. Wherever the mystic Northern blood was strongest, the atmosphere of the popular tales became most intense for in the Latin races there is a touch of basic rationality which denies to even their strangest superstitions many of the overtones of glamour so characteristic of our own forest-born and ice-fostered whisperings.
Just as all fiction first found extensive embodiment in poetry, so is it in poetry that we first encounter the permanent entry of the weird into standard literature. Most of the ancient instances, curiously enough, are in prose as the werewolf incident in Petronius, the gruesome passages in Apuleius, the brief but celebrated letter of Pliny the Younger to Sura, and the odd compilation On Wonderful Events by the Emperor Hadrian&rsquos Greek freedman, Phlegon. It is in Phlegon that we first find that hideous tale of the corpse-bride, &ldquoPhilinnion and Machates&rdquo, later related by Proclus and in modern times forming the inspiration of Goethe&rsquos &ldquoBride of Corinth&rdquo and Washington Irving&rsquos &ldquoGerman Student&rdquo. But by the time the old Northern myths take literary form, and in that later time when the weird appears as a steady element in the literature of the day, we find it mostly in metrical dress as indeed we find the greater part of the strictly imaginative writing of the Middle Ages and Renaissance. The Scandinavian Eddas and Sagas thunder with cosmic horror, and shake with the stark fear of Ymir and his shapeless spawn whilst our own Anglo-Saxon Beowulf and the later Continental Nibelung tales are full of eldritch weirdness. Dante is a pioneer in the classic capture of macabre atmosphere, and in Spenser&rsquos stately stanzas will be seen more than a few touches of fantastic terror in landscape, incident, and character. Prose literature gives us Malory&rsquos Morte d&rsquoArthur, in which are presented many ghastly situations taken from early ballad sources&mdashthe theft of the sword and silk from the corpse in Chapel Perilous by Sir Launcelot, the ghost of Sir Gawaine, and the tomb-fiend seen by Sir Galahad&mdashwhilst other and cruder specimens were doubtless set forth in the cheap and sensational &ldquochapbooks&rdquo vulgarly hawked about and devoured by the ignorant. In Elizabethan drama, with its Dr. Faustus, the witches in Macbeth, the ghost in Hamlet, and the horrible gruesomeness of Webster, we may easily discern the strong hold of the daemoniac on the public mind a hold intensified by the very real fear of living witchcraft, whose terrors, first wildest on the Continent, begin to echo loudly in English ears as the witch-hunting crusades of James the First gain headway. To the lurking mystical prose of the ages is added a long line of treatises on witchcraft and daemonology which aid in exciting the imagination of the reading world.
Through the seventeenth and into the eighteenth century we behold a growing mass of fugitive legendry and balladry of darksome cast still, however, held down beneath the surface of polite and accepted literature. Chapbooks of horror and weirdness multiplied, and we glimpse the eager interest of the people through fragments like Defoe&rsquos &ldquoApparition of Mrs. Veal&rdquo, a homely tale of a dead woman&rsquos spectral visit to a distant friend, written to advertise covertly a badly selling theological disquisition on death. The upper orders of society were now losing faith in the supernatural, and indulging in a period of classic rationalism. Then, beginning with the translations of Eastern tales in Queen Anne&rsquos reign and taking definite form toward the middle of the century, comes the revival of romantic feeling&mdashthe era of new joy in Nature, and in the radiance of past times, strange scenes, bold deeds, and incredible marvels. We feel it first in the poets, whose utterances take on new qualities of wonder, strangeness, and shuddering. And finally, after the timid appearance of a few weird scenes in the novels of the day&mdashsuch as Smollett&rsquos Adventures of Ferdinand, Count Fathom&mdashthe released instinct precipitates itself in the birth of a new school of writing the &ldquoGothic&rdquo school of horrible and fantastic prose fiction, long and short, whose literary posterity is destined to become so numerous, and in many cases so resplendent in artistic merit. It is, when one reflects upon it, genuinely remarkable that weird narration as a fixed and academically recognised literary form should have been so late of final birth. The impulse and atmosphere are as old as man, but the typical weird tale of standard literature is a child of the eighteenth century.

III. The Early Gothic Novel
The shadow-haunted landscapes of &ldquoOssian&rdquo, the chaotic visions of William Blake, the grotesque witch-dances in Burns&rsquos &ldquoTam O&rsquoShanter&rdquo, the sinister daemonism of Coleridge&rsquos Christabel and Ancient Mariner, the ghostly charm of James Hogg&rsquos &ldquoKilmeny&rdquo, and the more restrained approaches to cosmic horror in Lamia and many of Keats&rsquos other poems, are typical British illustrations of the advent of the weird to formal literature. Our Teutonic cousins of the Continent were equally receptive to the rising flood, and Bürger&rsquos &ldquoWild Huntsman&rdquo and the even more famous daemon-bridegroom ballad of &ldquoLenore&rdquo&mdashboth imitated in English by Scott, whose respect for the supernatural was always great&mdashare only a taste of the eerie wealth which German song had commenced to provide. Thomas Moore adapted from such sources the legend of the ghoulish statue-bride (later used by Prosper Mérimée in &ldquoThe Venus of Ille&rdquo, and traceable back to great antiquity) which echoes so shiveringly in his ballad of &ldquoThe Ring&rdquo whilst Goethe&rsquos deathless masterpiece Faust, crossing from mere balladry into the classic, cosmic tragedy of the ages, may be held as the ultimate height to which this German poetic impulse arose.
But it remained for a very sprightly and worldly Englishman&mdashnone other than Horace Walpole himself&mdashto give the growing impulse definite shape and become the actual founder of the literary horror-story as a permanent form. Fond of mediaeval romance and mystery as a dilettante&rsquos diversion, and with a quaintly imitated Gothic castle as his abode at Strawberry Hill, Walpole in 1764 published The Castle of Otranto a tale of the supernatural which, though thoroughly unconvincing and mediocre in itself, was destined to exert an almost unparalleled influence on the literature of the weird. First venturing it only as a translation by one &ldquoWilliam Marshal, Gent.&rdquo from the Italian of a mythical &ldquoOnuphrio Muralto&rdquo, the author later acknowledged his connexion with the book and took pleasure in its wide and instantaneous popularity&mdasha popularity which extended to many editions, early dramatisation, and wholesale imitation both in England and in Germany.
The story&mdashtedious, artificial, and melodramatic&mdashis further impaired by a brisk and prosaic style whose urbane sprightliness nowhere permits the creation of a truly weird atmosphere. It tells of Manfred, an unscrupulous and usurping prince determined to found a line, who after the mysterious sudden death of his only son Conrad on the latter&rsquos bridal morn, attempts to put away his wife Hippolita and wed the lady destined for the unfortunate youth&mdashthe lad, by the way, having been crushed by the preternatural fall of a gigantic helmet in the castle courtyard. Isabella, the widowed bride, flees from this design and encounters in subterranean crypts beneath the castle a noble young preserver, Theodore, who seems to be a peasant yet strangely resembles the old lord Alfonso who ruled the domain before Manfred&rsquos time. Shortly thereafter supernatural phenomena assail the castle in divers ways fragments of gigantic armour being discovered here and there, a portrait walking out of its frame, a thunderclap destroying the edifice, and a colossal armoured spectre of Alfonso rising out of the ruins to ascend through parting clouds to the bosom of St. Nicholas. Theodore, having wooed Manfred&rsquos daughter Matilda and lost her through death&mdashfor she is slain by her father by mistake&mdashis discovered to be the son of Alfonso and rightful heir to the estate. He concludes the tale by wedding Isabella and preparing to live happily ever after, whilst Manfred&mdashwhose usurpation was the cause of his son&rsquos supernatural death and his own supernatural harassings&mdashretires to a monastery for penitence his saddened wife seeking asylum in a neighbouring convent.
Such is the tale flat, stilted, and altogether devoid of the true cosmic horror which makes weird literature. Yet such was the thirst of the age for those touches of strangeness and spectral antiquity which it reflects, that it was seriously received by the soundest readers and raised in spite of its intrinsic ineptness to a pedestal of lofty importance in literary history. What it did above all else was to create a novel type of scene, puppet-characters, and incidents which, handled to better advantage by writers more naturally adapted to weird creation, stimulated the growth of an imitative Gothic school which in turn inspired the real weavers of cosmic terror&mdashthe line of actual artists beginning with Poe. This novel dramatic paraphernalia consisted first of all of the Gothic castle, with its awesome antiquity, vast distances and ramblings, deserted or ruined wings, damp corridors, unwholesome hidden catacombs, and galaxy of ghosts and appalling legends, as a nucleus of suspense and daemoniac fright. In addition, it included the tyrannical and malevolent nobleman as villain the saintly, longpersecuted, and generally insipid heroine who undergoes the major terrors and serves as a point of view and focus for the reader&rsquos sympathies the valorous and immaculate hero, always of high birth but often in humble disguise the convention of high-sounding foreign names, mostly Italian, for the characters and the infinite array of stage properties which includes strange lights, damp trap-doors, extinguished lamps, mouldy hidden manuscripts, creaking hinges, shaking arras, and the like. All this paraphernalia reappears with amusing sameness, yet sometimes with tremendous effect, throughout the history of the Gothic novel and is by no means extinct even today, though subtler technique now forces it to assume a less naive and obvious form. An harmonious milieu for a new school had been found, and the writing world was not slow to grasp the opportunity.
German romance at once responded to the Walpole influence, and soon became a byword for the weird and ghastly. In England one of the first imitators was the celebrated Mrs. Barbauld, then Miss Aikin, who in 1773 published an unfinished fragment called &ldquoSir Bertrand&rdquo, in which the strings of genuine terror were truly touched with no clumsy hand. A nobleman on a dark and lonely moor, attracted by a tolling bell and distant light, enters a strange and ancient turreted castle whose doors open and close and whose bluish will-o&rsquo-the-wisps lead up mysterious staircases toward dead hands and animated black statues. A coffin with a dead lady, whom Sir Bertrand kisses, is finally reached and upon the kiss the scene dissolves to give place to a splendid apartment where the lady, restored to life, holds a banquet in honour of her rescuer. Walpole admired this tale, though he accorded less respect to an even more prominent offspring of his Otranto&mdashThe Old English Baron, by Clara Reeve, published in 1777. Truly enough, this tale lacks the real vibration to the note of outer darkness and mystery which distinguishes Mrs. Barbauld&rsquos fragment and though less crude than Walpole&rsquos novel, and more artistically economical of horror in its possession of only one spectral figure, it is nevertheless too definitely insipid for greatness. Here again we have the virtuous heir to the castle disguised as a peasant and restored to his heritage through the ghost of his father and here again we have a case of wide popularity leading to many editions, dramatisation, and ultimate translation into French. Miss Reeve wrote another weird novel, unfortunately unpublished and lost.
The Gothic novel was now settled as a literary form, and instances multiply bewilderingly as the eighteenth century draws toward its close. The Recess, written in 1785 by Mrs. Sophia Lee, has the historic element, revolving round the twin daughters of Mary, Queen of Scots and though devoid of the supernatural, employs the Walpole scenery and mechanism with great dexterity. Five years later, and all existing lamps are paled by the rising of a fresh luminary of wholly superior order&mdashMrs. Ann Radcliffe (1764&ndash1823), whose famous novels made terror and suspense a fashion, and who set new and higher standards in the domain of macabre and fear-inspiring atmosphere despite a provoking custom of destroying her own phantoms at the last through laboured mechanical explanations. To the familiar Gothic trappings of her predecessors Mrs. Radcliffe added a genuine sense of the unearthly in scene and incident which closely approached genius every touch of setting and action contributing artistically to the impression of illimitable frightfulness which she wished to convey. A few sinister details like a track of blood on castle stairs, a groan from a distant vault, or a weird song in a nocturnal forest can with her conjure up the most powerful images of imminent horror surpassing by far the extravagant and toilsome elaborations of others. Nor are these images in themselves any the less potent because they are explained away before the end of the novel. Mrs. Radcliffe&rsquos visual imagination was very strong, and appears as much in her delightful landscape touches&mdashalways in broad, glamorously pictorial outline, and never in close detail&mdashas in her weird phantasies. Her prime weaknesses, aside from the habit of prosaic disillusionment, are a tendency toward erroneous geography and history and a fatal predilection for bestrewing her novels with insipid little poems, attributed to one or another of the characters.
Mrs. Radcliffe wrote six novels The Castles of Athlin and Dunbayne (1789), A Sicilian Romance (1790), The Romance of the Forest (1791), The Mysteries of Udolpho (1794), The Italian (1797), and Gaston de Blondeville, composed in 1802 but first published posthumously in 1826. Of these Udolpho is by far the most famous, and may be taken as a type of the early Gothic tale at its best. It is the chronicle of Emily, a young Frenchwoman transplanted to an ancient and portentous castle in the Apennines through the death of her parents and the marriage of her aunt to the lord of the castle&mdashthe scheming nobleman Montoni. Mysterious sounds, opened doors, frightful legends, and a nameless horror in a niche behind a black veil all operate in quick succession to unnerve the heroine and her faithful attendant Annette but finally, after the death of her aunt, she escapes with the aid of a fellow-prisoner whom she has discovered. On the way home she stops at a chateau filled with fresh horrors&mdashthe abandoned wing where the departed chatelaine dwelt, and the bed of death with the black pall&mdashbut is finally restored to security and happiness with her lover Valancourt, after the clearing-up of a secret which seemed for a time to involve her birth in mystery. Clearly, this is only the familiar material re-worked but it is so well re-worked that Udolpho will always be a classic. Mrs. Radcliffe&rsquos characters are puppets, but they are less markedly so than those of her forerunners. And in atmospheric creation she stands preëminent among those of her time.
Of Mrs. Radcliffe&rsquos countless imitators, the American novelist Charles Brockden Brown stands the closest in spirit and method. Like her, he injured his creations by natural explanations but also like her, he had an uncanny atmospheric power which gives his horrors a frightful vitality as long as they remain unexplained. He differed from her in contemptuously discarding the external Gothic paraphernalia and properties and choosing modern American scenes for his mysteries but this repudiation did not extend to the Gothic spirit and type of incident. Brown&rsquos novels involve some memorably frightful scenes, and excel even Mrs. Radcliffe&rsquos in describing the operations of the perturbed mind. Edgar Huntly starts with a sleep-walker digging a grave, but is later impaired by touches of Godwinian didacticism. Ormond involves a member of a sinister secret brotherhood. That and Arthur Mervyn both describe the plague of yellow fever, which the author had witnessed in Philadelphia and New York. But Brown&rsquos most famous book is Wieland or, The Transformation (1798), in which a Pennsylvania German, engulfed by a wave of religious fanaticism, hears voices and slays his wife and children as a sacrifice. His sister Clara, who tells the story, narrowly escapes. The scene, laid at the woodland estate of Mittingen on the Schuylkill&rsquos remote reaches, is drawn with extreme vividness and the terrors of Clara, beset by spectral tones, gathering fears, and the sound of strange footsteps in the lonely house, are all shaped with truly artistic force. In the end a lame ventriloquial explanation is offered, but the atmosphere is genuine while it lasts. Carwin, the malign ventriloquist, is a typical villain of the Manfred or Montoni type.

IV. The Apex of Gothic Romance
Horror in literature attains a new malignity in the work of Matthew Gregory Lewis (1775&ndash1818), whose novel The Monk (1796) achieved marvellous popularity and earned him the nickname of &ldquoMonk&rdquo Lewis. This young author, educated in Germany and saturated with a body of wild Teuton lore unknown to Mrs. Radcliffe, turned to terror in forms more violent than his gentle predecessor had ever dared to think of and produced as a result a masterpiece of active nightmare whose general Gothic cast is spiced with added stores of ghoulishness. The story is one of a Spanish monk, Ambrosio, who from a state of overproud virtue is tempted to the very nadir of evil by a fiend in the guise of the maiden Matilda and who is finally, when awaiting death at the Inquisition&rsquos hands, induced to purchase escape at the price of his soul from the Devil, because he deems both body and soul already lost. Forthwith the mocking Fiend snatches him to a lonely place, tells him he has sold his soul in vain since both pardon and a chance for salvation were approaching at the moment of his hideous bargain, and completes the sardonic betrayal by rebuking him for his unnatural crimes, and casting his body down a precipice whilst his soul is borne off for ever to perdition. The novel contains some appalling descriptions such as the incantation in the vaults beneath the convent cemetery, the burning of the convent, and the final end of the wretched abbot. In the sub-plot where the Marquis de las Cisternas meets the spectre of his erring ancestress, The Bleeding Nun, there are many enormously potent strokes notably the visit of the animated corpse to the Marquis&rsquos bedside, and the cabbalistic ritual whereby the Wandering Jew helps him to fathom and banish his dead tormentor. Nevertheless The Monk drags sadly when read as a whole. It is too long and too diffuse, and much of its potency is marred by flippancy and by an awkwardly excessive reaction against those canons of decorum which Lewis at first despised as prudish. One great thing may be said of the author that he never ruined his ghostly visions with a natural explanation. He succeeded in breaking up the Radcliffian tradition and expanding the field of the Gothic novel. Lewis wrote much more than The Monk. His drama, The Castle Spectre, was produced in 1798, and he later found time to pen other fictions in ballad form&mdashTales of Terror (1799), Tales of Wonder (1801), and a succession of translations from the German.
Gothic romances, both English and German, now appeared in multitudinous and mediocre profusion. Most of them were merely ridiculous in the light of mature taste, and Miss Austen&rsquos famous satire Northanger Abbey was by no means an unmerited rebuke to a school which had sunk far toward absurdity. This particular school was petering out, but before its final subordination there arose its last and greatest figure in the person of Charles Robert Maturin (1782&ndash1824), an obscure and eccentric Irish clergyman. Out of an ample body of miscellaneous writing which includes one confused Radcliffian imitation called Fatal Revenge or, The Family of Montorio (1807), Maturin at length evolved the vivid horror-masterpiece of Melmoth the Wanderer (1820), in which the Gothic tale climbed to altitudes of sheer spiritual fright which it had never known before.
Melmoth is the tale of an Irish gentleman who, in the seventeenth century, obtained a preternaturally extended life from the Devil at the price of his soul. If he can persuade another to take the bargain off his hands, and assume his existing state, he can be saved but this he can never manage to effect, no matter how assiduously he haunts those whom despair has made reckless and frantic. The framework of the story is very clumsy involving tedious length, digressive episodes, narratives within narratives, and laboured dovetailing and coincidences but at various points in the endless rambling there is felt a pulse of power undiscoverable in any previous work of this kind&mdasha kinship to the essential truth of human nature, an understanding of the profoundest sources of actual cosmic fear, and a white heat of sympathetic passion on the writer&rsquos part which makes the book a true document of aesthetic self-expression rather than a mere clever compound of artifice. No unbiassed reader can doubt that with Melmoth an enormous stride in the evolution of the horror-tale is represented. Fear is taken out of the realm of the conventional and exalted into a hideous cloud over mankind&rsquos very destiny. Maturin&rsquos shudders, the work of one capable of shuddering himself, are of the sort that convince. Mrs. Radcliffe and Lewis are fair game for the parodist, but it would be difficult to find a false note in the feverishly intensified action and high atmospheric tension of the Irishman whose less sophisticated emotions and strain of Celtic mysticism gave him the finest possible natural equipment for his task. Without a doubt Maturin is a man of authentic genius, and he was so recognised by Balzac, who grouped Melmoth with Molière&rsquos Don Juan, Goethe&rsquos Faust, and Byron&rsquos Manfred as the supreme allegorical figures of modern European literature, and wrote a whimsical piece called &ldquoMelmoth Reconciled&rdquo, in which the Wanderer succeeds in passing his infernal bargain on to a Parisian bank defaulter, who in turn hands it along a chain of victims until a revelling gambler dies with it in his possession, and by his damnation ends the curse. Scott, Rossetti, Thackeray, and Baudelaire are the other titans who gave Maturin their unqualified admiration, and there is much significance in the fact that Oscar Wilde, after his disgrace and exile, chose for his last days in Paris the assumed name of &ldquoSebastian Melmoth&rdquo.
Melmoth contains scenes which even now have not lost their power to evoke dread. It begins with a deathbed&mdashan old miser is dying of sheer fright because of something he has seen, coupled with a manuscript he has read and a family portrait which hangs in an obscure closet of his centuried home in County Wicklow. He sends to Trinity College, Dublin, for his nephew John and the latter upon arriving notes many uncanny things. The eyes of the portrait in the closet glow horribly, and twice a figure strangely resembling the portrait appears momentarily at the door. Dread hangs over that house of the Melmoths, one of whose ancestors, &ldquoJ. Melmoth, 1646&rdquo, the portrait represents. The dying miser declares that this man&mdashat a date slightly before 1800&mdashis alive. Finally the miser dies, and the nephew is told in the will to destroy both the portrait and a manuscript to be found in a certain drawer. Reading the manuscript, which was written late in the seventeenth century by an Englishman named Stanton, young John learns of a terrible incident in Spain in 1677, when the writer met a horrible fellow-countryman and was told of how he had stared to death a priest who tried to denounce him as one filled with fearsome evil. Later, after meeting the man again in London, Stanton is cast into a madhouse and visited by the stranger, whose approach is heralded by spectral music and whose eyes have a more than mortal glare. Melmoth the Wanderer&mdashfor such is the malign visitor&mdashoffers the captive freedom if he will take over his bargain with the Devil but like all others whom Melmoth has approached, Stanton is proof against temptation. Melmoth&rsquos description of the horrors of a life in a madhouse, used to tempt Stanton, is one of the most potent passages of the book. Stanton is at length liberated, and spends the rest of his life tracking down Melmoth, whose family and ancestral abode he discovers. With the family he leaves the manuscript, which by young John&rsquos time is sadly ruinous and fragmentary. John destroys both portrait and manuscript, but in sleep is visited by his horrible ancestor, who leaves a black and blue mark on his wrist.
Young John soon afterward receives as a visitor a shipwrecked Spaniard, Alonzo de Monçada, who has escaped from compulsory monasticism and from the perils of the Inquisition. He has suffered horribly&mdashand the descriptions of his experiences under torment and in the vaults through which he once essays escape are classic&mdashbut had the strength to resist Melmoth the Wanderer when approached at his darkest hour in prison. At the house of a Jew who sheltered him after his escape he discovers a wealth of manuscript relating other exploits of Melmoth including his wooing of an Indian island maiden, Immalee, who later comes to her birthright in Spain and is known as Donna Isidora and of his horrible marriage to her by the corpse of a dead anchorite at midnight in the ruined chapel of a shunned and abhorred monastery. Monçada&rsquos narrative to young John takes up the bulk of Maturin&rsquos four-volume book this disproportion being considered one of the chief technical faults of the composition.
At last the colloquies of John and Monçada are interrupted by the entrance of Melmoth the Wanderer himself, his piercing eyes now fading, and decrepitude swiftly overtaking him. The term of his bargain has approached its end, and he has come home after a century and a half to meet his fate. Warning all others from the room, no matter what sounds they may hear in the night, he awaits the end alone. Young John and Monçada hear frightful ululations, but do not intrude till silence comes toward morning. They then find the room empty. Clayey footprints lead out a rear door to a cliff overlooking the sea, and near the edge of the precipice is a track indicating the forcible dragging of some heavy body. The Wanderer&rsquos scarf is found on a crag some distance below the brink, but nothing further is ever seen or heard of him.
Such is the story, and none can fail to notice the difference between this modulated, suggestive, and artistically moulded horror and&mdashto use the words of Professor George Saintsbury&mdash&ldquothe artful but rather jejune rationalism of Mrs. Radcliffe, and the too often puerile extravagance, the bad taste, and the sometimes slipshod style of Lewis.&rdquo Maturin&rsquos style in itself deserves particular praise, for its forcible directness and vitality lift it altogether above the pompous artificialities of which his predecessors are guilty. Professor Edith Birkhead, in her history of the Gothic novel, justly observes that with all his faults Maturin was the greatest as well as the last of the Goths. Melmoth was widely read and eventually dramatised, but its late date in the evolution of the Gothic tale deprived it of the tumultuous popularity of Udolpho and The Monk.

V. The Aftermath of Gothic Fiction
Meanwhile other hands had not been idle, so that above the dreary plethora of trash like Marquis von Grosse&rsquos Horrid Mysteries (1796), Mrs. Roche&rsquos Children of the Abbey (1796), Miss Dacre&rsquos Zofloya or, The Moor (1806), and the poet Shelley&rsquos schoolboy effusions Zastrozzi (1810) and St. Irvyne (1811) (both imitations of Zofloya ) there arose many memorable weird works both in English and German. Classic in merit, and markedly different from its fellows because of its foundation in the Oriental tale rather than the Walpolesque Gothic novel, is the celebrated History of the Caliph Vathek by the wealthy dilettante William Beckford, first written in the French language but published in an English translation before the appearance of the original. Eastern tales, introduced to European literature early in the eighteenth century through Galland&rsquos French translation of the inexhaustibly opulent Arabian Nights, had become a reigning fashion being used both for allegory and for amusement. The sly humour which only the Eastern mind knows how to mix with weirdness had captivated a sophisticated generation, till Bagdad and Damascus names became as freely strown through popular literature as dashing Italian and Spanish ones were soon to be. Beckford, well read in Eastern romance, caught the atmosphere with unusual receptivity and in his fantastic volume reflected very potently the haughty luxury, sly disillusion, bland cruelty, urbane treachery, and shadowy spectral horror of the Saracen spirit. His seasoning of the ridiculous seldom mars the force of his sinister theme, and the tale marches onward with a phantasmagoric pomp in which the laughter is that of skeletons feasting under Arabesque domes. Vathek is a tale of the grandson of the Caliph Haroun, who, tormented by that ambition for super-terrestrial power, pleasure, and learning which animates the average Gothic villain or Byronic hero (essentially cognate types), is lured by an evil genius to seek the subterranean throne of the mighty and fabulous pre-Adamite sultans in the fiery halls of Eblis, the Mahometan Devil. The descriptions of Vathek&rsquos palaces and diversions, of his scheming sorceress-mother Carathis and her witch-tower with the fifty one-eyed negresses, of his pilgrimage to the haunted ruins of Istakhar (Persepolis) and of the impish bride Nouronihar whom he treacherously acquired on the way, of Istakhar&rsquos primordial towers and terraces in the burning moonlight of the waste, and of the terrible Cyclopean halls of Eblis, where, lured by glittering promises, each victim is compelled to wander in anguish for ever, his right hand upon his blazingly ignited and eternally burning heart, are triumphs of weird colouring which raise the book to a permanent place in English letters. No less notable are the three Episodes of Vathek, intended for insertion in the tale as narratives of Vathek&rsquos fellow-victims in Eblis&rsquo infernal halls, which remained unpublished throughout the author&rsquos lifetime and were discovered as recently as 1909 by the scholar Lewis Melville whilst collecting material for his Life and Letters of William Beckford. Beckford, however, lacks the essential mysticism which marks the acutest form of the weird so that his tales have a certain knowing Latin hardness and clearness preclusive of sheer panic fright.
But Beckford remained alone in his devotion to the Orient. Other writers, closer to the Gothic tradition and to European life in general, were content to follow more faithfully in the lead of Walpole. Among the countless producers of terror-literature in these times may be mentioned the Utopian economic theorist William Godwin, who followed his famous but non-supernatural Caleb Williams (1794) with the intendedly weird St. Leon (1799), in which the theme of the elixir of life, as developed by the imaginary secret order of &ldquoRosicrucians&rdquo, is handled with ingeniousness if not with atmospheric convincingness. This element of Rosicrucianism, fostered by a wave of popular magical interest exemplified in the vogue of the charlatan Cagliostro and the publication of Francis Barrett&rsquos The Magus (1801), a curious and compendious treatise on occult principles and ceremonies, of which a reprint was made as lately as 1896, figures in Bulwer-Lytton and in many late Gothic novels, especially that remote and enfeebled posterity which straggled far down into the nineteenth century and was represented by George W. M. Reynolds&rsquo Faust and the Demon and Wagner, the Wehr-wolf. Caleb Williams, though non-supernatural, has many authentic touches of terror. It is the tale of a servant persecuted by a master whom he has found guilty of murder, and displays an invention and skill which have kept it alive in a fashion to this day. It was dramatised as The Iron Chest, and in that form was almost equally celebrated. Godwin, however, was too much the conscious teacher and prosaic man of thought to create a genuine weird masterpiece.
His daughter, the wife of Shelley, was much more successful and her inimitable Frankenstein or, The Modern Prometheus (1818) is one of the horror-classics of all time. Composed in competition with her husband, Lord Byron, and Dr. John William Polidori in an effort to prove supremacy in horror-making, Mrs. Shelley&rsquos Frankenstein was the only one of the rival narratives to be brought to an elaborate completion and criticism has failed to prove that the best parts are due to Shelley rather than to her. The novel, somewhat tinged but scarcely marred by moral didacticism, tells of the artificial human being moulded from charnel fragments by Victor Frankenstein, a young Swiss medical student. Created by its designer &ldquoin the mad pride of intellectuality&rdquo, the monster possesses full intelligence but owns a hideously loathsome form. It is rejected by mankind, becomes embittered, and at length begins the successive murder of all whom young Frankenstein loves best, friends and family. It demands that Frankenstein create a wife for it and when the student finally refuses in horror lest the world be populated with such monsters, it departs with a hideous threat &lsquoto be with him on his wedding night&rsquo. Upon that night the bride is strangled, and from that time on Frankenstein hunts down the monster, even into the wastes of the Arctic. In the end, whilst seeking shelter on the ship of the man who tells the story, Frankenstein himself is killed by the shocking object of his search and creation of his presumptuous pride. Some of the scenes in Frankenstein are unforgettable, as when the newly animated monster enters its creator&rsquos room, parts the curtains of his bed, and gazes at him in the yellow moonlight with watery eyes&mdash&ldquoif eyes they may be called&rdquo. Mrs. Shelley wrote other novels, including the fairly notable Last Man but never duplicated the success of her first effort. It has the true touch of cosmic fear, no matter how much the movement may lag in places. Dr. Polidori developed his competing idea as a long short story, &ldquoThe Vampyre&rdquo in which we behold a suave villain of the true Gothic or Byronic type, and encounter some excellent passages of stark fright, including a terrible nocturnal experience in a shunned Grecian wood.
In this same period Sir Walter Scott frequently concerned himself with the weird, weaving it into many of his novels and poems, and sometimes producing such independent bits of narration as &ldquoThe Tapestried Chamber&rdquo or &ldquoWandering Willie&rsquos Tale&rdquo in Redgauntlet, in the latter of which the force of the spectral and the diabolic is enhanced by a grotesque homeliness of speech and atmosphere. In 1830 Scott published his Letters on Demonology and Witchcraft, which still forms one of our best compendia of European witch-lore. Washington Irving is another famous figure not unconnected with the weird for though most of his ghosts are too whimsical and humorous to form genuinely spectral literature, a distinct inclination in this direction is to be noted in many of his productions. &ldquoThe German Student&rdquo in Tales of a Traveller (1824) is a slyly concise and effective presentation of the old legend of the dead bride, whilst woven into the comic tissue of &ldquoThe Money-Diggers&rdquo in the same volume is more than one hint of piratical apparitions in the realms which Captain Kidd once roamed. Thomas Moore also joined the ranks of the macabre artists in the poem Alciphron, which he later elaborated into the prose novel of The Epicurean (1827). Though merely relating the adventures of a young Athenian duped by the artifice of cunning Egyptian priests, Moore manages to infuse much genuine horror into his account of subterranean frights and wonders beneath the primordial temples of Memphis. De Quincey more than once revels in grotesque and arabesque terrors, though with a desultoriness and learned pomp which deny him the rank of specialist.
This era likewise saw the rise of William Harrison Ainsworth, whose romantic novels teem with the eerie and the gruesome. Capt. Marryat, besides writing such short tales as &ldquoThe Werewolf&rdquo, made a memorable contribution in The Phantom Ship (1839), founded on the legend of the Flying Dutchman, whose spectral and accursed vessel sails for ever near the Cape of Good Hope. Dickens now rises with occasional weird bits like &ldquoThe Signalman&rdquo, a tale of ghostly warning conforming to a very common pattern and touched with a verisimilitude which allies it as much with the coming psychological school as with the dying Gothic school. At this time a wave of interest in spiritualistic charlatanry, mediumism, Hindoo theosophy, and such matters, much like that of the present day, was flourishing so that the number of weird tales with a &ldquopsychic&rdquo or pseudo-scientific basis became very considerable. For a number of these the prolific and popular Lord Edward Bulwer-Lytton was responsible and despite the large doses of turgid rhetoric and empty romanticism in his products, his success in the weaving of a certain kind of bizarre charm cannot be denied.
&ldquoThe House and the Brain&rdquo, which hints of Rosicrucianism and at a malign and deathless figure perhaps suggested by Louis XV&rsquos mysterious courtier St. Germain, yet survives as one of the best short haunted-house tales ever written. The novel Zanoni (1842) contains similar elements more elaborately handled, and introduces a vast unknown sphere of being pressing on our own world and guarded by a horrible &ldquoDweller of the Threshold&rdquo who haunts those who try to enter and fail. Here we have a benign brotherhood kept alive from age to age till finally reduced to a single member, and as a hero an ancient Chaldaean sorcerer surviving in the pristine bloom of youth to perish on the guillotine of the French Revolution. Though full of the conventional spirit of romance, marred by a ponderous network of symbolic and didactic meanings, and left unconvincing through lack of perfect atmospheric realisation of the situations hinging on the spectral world, Zanoni is really an excellent performance as a romantic novel and can be read with genuine interest today by the not too sophisticated reader. It is amusing to note that in describing an attempted initiation into the ancient brotherhood the author cannot escape using the stock Gothic castle of Walpolian lineage.
In A Strange Story (1862) Bulwer-Lytton shews a marked improvement in the creation of weird images and moods. The novel, despite enormous length, a highly artificial plot bolstered up by opportune coincidences, and an atmosphere of homiletic pseudo-science designed to please the matter-of-fact and purposeful Victorian reader, is exceedingly effective as a narrative evoking instantaneous and unflagging interest, and furnishing many potent&mdashif somewhat melodramatic&mdashtableaux and climaxes. Again we have the mysterious user of life&rsquos elixir in the person of the soulless magician Margrave, whose dark exploits stand out with dramatic vividness against the modern background of a quiet English town and of the Australian bush and again we have shadowy intimations of a vast spectral world of the unknown in the very air about us&mdashthis time handled with much greater power and vitality than in Zanoni. One of the two great incantation passages, where the hero is driven by a luminous evil spirit to rise at night in his sleep, take a strange Egyptian wand, and evoke nameless presences in the haunted and mausoleum-facing pavilion of a famous Renaissance alchemist, truly stands among the major terror scenes of literature. Just enough is suggested, and just little enough is told. Unknown words are twice dictated to the sleep-walker, and as he repeats them the ground trembles, and all the dogs of the countryside begin to bay at half-seen amorphous shadows that stalk athwart the moonlight. When a third set of unknown words is prompted, the sleep-walker&rsquos spirit suddenly rebels at uttering them, as if the soul could recognise ultimate abysmal horrors concealed from the mind and at last an apparition of an absent sweetheart and good angel breaks the malign spell. This fragment well illustrates how far Lord Lytton was capable of progressing beyond his usual pomp and stock romance toward that crystalline essence of artistic fear which belongs to the domain of poetry. In describing certain details of incantations, Lytton was greatly indebted to his amusingly serious occult studies, in the course of which he came in touch with that odd French scholar and cabbalist Alphonse-Louis Constant (&ldquoEliphas Lévi&rdquo), who claimed to possess the secrets of ancient magic, and to have evoked the spectre of the old Grecian wizard Apollonius of Tyana, who lived in Nero&rsquos time.
The romantic, semi-Gothic, quasi-moral tradition here represented was carried far down the nineteenth century by such authors as Joseph Sheridan LeFanu, Thomas Preskett Prest with his famous Varney, the Vampyre (1847), Wilkie Collins, the late Sir H. Rider Haggard (whose She is really remarkably good), Sir A. Conan Doyle, H. G. Wells, and Robert Louis Stevenson&mdashthe latter of whom, despite an atrocious tendency toward jaunty mannerisms, created permanent classics in &ldquoMarkheim&rdquo, &ldquoThe Body-Snatcher&rdquo, and Dr. Jekyll and Mr. Hyde. Indeed, we may say that this school still survives for to it clearly belong such of our contemporary horror-tales as specialise in events rather than atmospheric details, address the intellect rather than the impressionistic imagination, cultivate a luminous glamour rather than a malign tensity or psychological verisimilitude, and take a definite stand in sympathy with mankind and its welfare. It has its undeniable strength, and because of its &ldquohuman element&rdquo commands a wider audience than does the sheer artistic nightmare. If not quite so potent as the latter, it is because a diluted product can never achieve the intensity of a concentrated essence.
Quite alone both as a novel and as a piece of terror-literature stands the famous Wuthering Heights (1847) by Emily Brontë, with its mad vista of bleak, windswept Yorkshire moors and the violent, distorted lives they foster. Though primarily a tale of life, and of human passions in agony and conflict, its epically cosmic setting affords room for horror of the most spiritual sort. Heathcliff, the modified Byronic villain-hero, is a strange dark waif found in the streets as a small child and speaking only a strange gibberish till adopted by the family he ultimately ruins. That he is in truth a diabolic spirit rather than a human being is more than once suggested, and the unreal is further approached in the experience of the visitor who encounters a plaintive child-ghost at a bough-brushed upper window. Between Heathcliff and Catherine Earnshaw is a tie deeper and more terrible than human love. After her death he twice disturbs her grave, and is haunted by an impalpable presence which can be nothing less than her spirit. The spirit enters his life more and more, and at last he becomes confident of some imminent mystical reunion. He says he feels a strange change approaching, and ceases to take nourishment. At night he either walks abroad or opens the casement by his bed. When he dies the casement is still swinging open to the pouring rain, and a queer smile pervades the stiffened face. They bury him in a grave beside the mound he has haunted for eighteen years, and small shepherd boys say that he yet walks with his Catherine in the churchyard and on the moor when it rains. Their faces, too, are sometimes seen on rainy nights behind that upper casement at Wuthering Heights. Miss Brontë&rsquos eerie terror is no mere Gothic echo, but a tense expression of man&rsquos shuddering reaction to the unknown. In this respect, Wuthering Heights becomes the symbol of a literary transition, and marks the growth of a new and sounder school.

VI. Spectral Literature on the Continent
On the Continent literary horror fared well. The celebrated short tales and novels of Ernst Theodor Wilhelm Hoffmann (1776&ndash1822) are a byword for mellowness of background and maturity of form, though they incline to levity and extravagance, and lack the exalted moments of stark, breathless terror which a less sophisticated writer might have achieved. Generally they convey the grotesque rather than the terrible. Most artistic of all the Continental weird tales is the German classic Undine (1811), by Friedrich Heinrich Karl, Baron de la Motte Fouqué. In this story of a water-spirit who married a mortal and gained a human soul there is a delicate fineness of craftsmanship which makes it notable in any department of literature, and an easy naturalness which places it close to the genuine folk-myth. It is, in fact, derived from a tale told by the Renaissance physician and alchemist Paracelsus in his Treatise on Elemental Sprites.
Undine, daughter of a powerful water-prince, was exchanged by her father as a small child for a fisherman&rsquos daughter, in order that she might acquire a soul by wedding a human being. Meeting the noble youth Huldbrand at the cottage of her foster-father by the sea at the edge of a haunted wood, she soon marries him, and accompanies him to his ancestral castle of Ringstetten. Huldbrand, however, eventually wearies of his wife&rsquos supernatural affiliations, and especially of the appearances of her uncle, the malicious woodland waterfall-spirit Kühleborn a weariness increased by his growing affection for Bertalda, who turns out to be the fisherman&rsquos child for whom Undine was exchanged. At length, on a voyage down the Danube, he is provoked by some innocent act of his devoted wife to utter the angry words which consign her back to her supernatural element from which she can, by the laws of her species, return only once&mdashto kill him, whether she will or no, if ever he prove unfaithful to her memory. Later, when Huldbrand is about to be married to Bertalda, Undine returns for her sad duty, and bears his life away in tears. When he is buried among his fathers in the village churchyard a veiled, snow-white female figure appears among the mourners, but after the prayer is seen no more. In her place is seen a little silver spring, which murmurs its way almost completely around the new grave, and empties into a neighbouring lake. The villagers shew it to this day, and say that Undine and her Huldbrand are thus united in death. Many passages and atmospheric touches in this tale reveal Fouqué as an accomplished artist in the field of the macabre especially the descriptions of the haunted wood with its gigantic snow-white man and various unnamed terrors, which occur early in the narrative.
Not so well known as Undine, but remarkable for its convincing realism and freedom from Gothic stock devices, is the Amber Witch of Wilhelm Meinhold, another product of the German fantastic genius of the earlier nineteenth century. This tale, which is laid in the time of the Thirty Years&rsquo War, purports to be a clergyman&rsquos manuscript found in an old church at Coserow, and centres round the writer&rsquos daughter, Maria Schweidler, who is wrongly accused of witchcraft. She has found a deposit of amber which she keeps secret for various reasons, and the unexplained wealth obtained from this lends colour to the accusation an accusation instigated by the malice of the wolf-hunting nobleman Wittich Appelmann, who has vainly pursued her with ignoble designs. The deeds of a real witch, who afterward comes to a horrible supernatural end in prison, are glibly imputed to the hapless Maria and after a typical witchcraft trial with forced confessions under torture she is about to be burned at the stake when saved just in time by her lover, a noble youth from a neighbouring district. Meinhold&rsquos great strength is in his air of casual and realistic verisimilitude, which intensifies our suspense and sense of the unseen by half persuading us that the menacing events must somehow be either the truth or very close to the truth. Indeed, so thorough is this realism that a popular magazine once published the main points of The Amber Witch as an actual occurrence of the seventeenth century!
In the present generation German horror-fiction is most notably represented by Hanns Heinz Ewers, who brings to bear on his dark conceptions an effective knowledge of modern psychology. Novels like The Sorcerer&rsquos Apprentice and Alraune, and short stories like &ldquoThe Spider&rdquo, contain distinctive qualities which raise them to a classic level.
But France as well as Germany has been active in the realm of weirdness. Victor Hugo, in such tales as Hans of Iceland, and Balzac, in The Wild Ass&rsquos Skin, Séraphîta, and Louis Lambert, both employ supernaturalism to a greater or less extent though generally only as a means to some more human end, and without the sincere and daemonic intensity which characterises the born artist in shadows. It is in Théophile Gautier that we first seem to find an authentic French sense of the unreal world, and here there appears a spectral mastery which, though not continuously used, is recognisable at once as something alike genuine and profound. Short tales like &ldquoAvatar&rdquo, &ldquoThe Foot of the Mummy&rdquo, and &ldquoClarimonde&rdquo display glimpses of forbidden visits that allure, tantalise, and sometimes horrify whilst the Egyptian visions evoked in &ldquoOne of Cleopatra&rsquos Nights&rdquo are of the keenest and most expressive potency. Gautier captured the inmost soul of aeon-weighted Egypt, with its cryptic life and Cyclopean architecture, and uttered once and for all the eternal horror of its nether world of catacombs, where to the end of time millions of stiff, spiced corpses will stare up in the blackness with glassy eyes, awaiting some awesome and unrelatable summons. Gustave Flaubert ably continued the tradition of Gautier in orgies of poetic phantasy like The Temptation of St. Anthony, and but for a strong realistic bias might have been an arch-weaver of tapestried terrors. Later on we see the stream divide, producing strange poets and fantaisistes of the Symbolist and Decadent schools whose dark interests really centre more in abnormalities of human thought and instinct than in the actual supernatural, and subtle story-tellers whose thrills are quite directly derived from the night-black wells of cosmic unreality. Of the former class of &ldquoartists in sin&rdquo the illustrious poet Baudelaire, influenced vastly by Poe, is the supreme type whilst the psychological novelist Joris-Karl Huysmans, a true child of the eighteen-nineties, is at once the summation and finale. The latter and purely narrative class is continued by Prosper Mérimée, whose &ldquoVenus of Ille&rdquo presents in terse and convincing prose the same ancient statue-bride theme which Thomas Moore cast in ballad form in &ldquoThe Ring&rdquo.
The horror-tales of the powerful and cynical Guy de Maupassant, written as his final madness gradually overtook him, present individualities of their own being rather the morbid outpourings of a realistic mind in a pathological state than the healthy imaginative products of a vision naturally disposed toward phantasy and sensitive to the normal illusions of the unseen. Nevertheless they are of the keenest interest and poignancy suggesting with marvellous force the imminence of nameless terrors, and the relentless dogging of an ill-starred individual by hideous and menacing representatives of the outer blackness. Of these stories &ldquoThe Horla&rdquo is generally regarded as the masterpiece. Relating the advent to France of an invisible being who lives on water and milk, sways the minds of others, and seems to be the vanguard of a horde of extra-terrestrial organisms arrived on earth to subjugate and overwhelm mankind, this tense narrative is perhaps without a peer in its particular department notwithstanding its indebtedness to a tale by the American Fitz-James O&rsquoBrien for details in describing the actual presence of the unseen monster. Other potently dark creations of de Maupassant are &ldquoWho Knows?&rdquo, &ldquoThe Spectre&rdquo, &ldquoHe?&rdquo, &ldquoThe Diary of a Madman&rdquo, &ldquoThe White Wolf&rdquo, &ldquoOn the River&rdquo, and the grisly verses entitled &ldquoHorror&rdquo.
The collaborators Erckmann-Chatrian enriched French literature with many spectral fancies like The Man-Wolf, in which a transmitted curse works toward its end in a traditional Gothic-castle setting. Their power of creating a shuddering midnight atmosphere was tremendous despite a tendency toward natural explanations and scientific wonders and few short tales contain greater horror than &ldquoThe Invisible Eye&rdquo, where a malignant old hag weaves nocturnal hypnotic spells which induce the successive occupants of a certain inn chamber to hang themselves on a cross-beam. &ldquoThe Owl&rsquos Ear&rdquo and &ldquoThe Waters of Death&rdquo are full of engulfing darkness and mystery, the latter embodying the familiar overgrown-spider theme so frequently employed by weird fictionists. Villiers de l&rsquoIsle-Adam likewise followed the macabre school his &ldquoTorture by Hope&rdquo, the tale of a stake-condemned prisoner permitted to escape in order to feel the pangs of recapture, being held by some to constitute the most harrowing short story in literature. This type, however, is less a part of the weird tradition than a class peculiar to itself&mdashthe so-called conte cruel, in which the wrenching of the emotions is accomplished through dramatic tantalisations, frustrations, and gruesome physical horrors. Almost wholly devoted to this form is the living writer Maurice Level, whose very brief episodes have lent themselves so readily to theatrical adaptation in the &ldquothrillers&rdquo of the Grand Guignol. As a matter of fact, the French genius is more naturally suited to this dark realism than to the suggestion of the unseen since the latter process requires, for its best and most sympathetic development on a large scale, the inherent mysticism of the Northern mind.
A very flourishing, though till recently quite hidden, branch of weird literature is that of the Jews, kept alive and nourished in obscurity by the sombre heritage of early Eastern magic, apocalyptic literature, and cabbalism. The Semitic mind, like the Celtic and Teutonic, seems to possess marked mystical inclinations and the wealth of underground horror-lore surviving in ghettoes and synagogues must be much more considerable than is generally imagined. Cabbalism itself, so prominent during the Middle Ages, is a system of philosophy explaining the universe as emanations of the Deity, and involving the existence of strange spiritual realms and beings apart from the visible world, of which dark glimpses may be obtained through certain secret incantations. Its ritual is bound up with mystical interpretations of the Old Testament, and attributes an esoteric significance to each letter of the Hebrew alphabet&mdasha circumstance which has imparted to Hebrew letters a sort of spectral glamour and potency in the popular literature of magic. Jewish folklore has preserved much of the terror and mystery of the past, and when more thoroughly studied is likely to exert considerable influence on weird fiction. The best examples of its literary use so far are the German novel The Golem, by Gustav Meyrink, and the drama The Dybbuk, by the Jewish writer using the pseudonym &ldquoAnsky&rdquo. The former, with its haunting shadowy suggestions of marvels and horrors just beyond reach, is laid in Prague, and describes with singular mastery that city&rsquos ancient ghetto with its spectral, peaked gables. The name is derived from a fabulous artificial giant supposed to be made and animated by mediaeval rabbis according to a certain cryptic formula. The Dybbuk, translated and produced in America in 1925, and more recently produced as an opera, describes with singular power the possession of a living body by the evil soul of a dead man. Both golems and dybbuks are fixed types, and serve as frequent ingredients of later Jewish tradition.

VII. Edgar Allan Poe
In the eighteen-thirties occurred a literary dawn directly affecting not only the history of the weird tale, but that of short fiction as a whole and indirectly moulding the trends and fortunes of a great European aesthetic school. It is our good fortune as Americans to be able to claim that dawn as our own, for it came in the person of our illustrious and unfortunate fellow-countryman Edgar Allan Poe. Poe&rsquos fame has been subject to curious undulations, and it is now a fashion amongst the &ldquoadvanced intelligentsia&rdquo to minimise his importance both as an artist and as an influence but it would be hard for any mature and reflective critic to deny the tremendous value of his work and the pervasive potency of his mind as an opener of artistic vistas. True, his type of outlook may have been anticipated but it was he who first realised its possibilities and gave it supreme form and systematic expression. True also, that subsequent writers may have produced greater single tales than his but again we must comprehend that it was only he who taught them by example and precept the art which they, having the way cleared for them and given an explicit guide, were perhaps able to carry to greater lengths. Whatever his limitations, Poe did that which no one else ever did or could have done and to him we owe the modern horror-story in its final and perfected state.
Before Poe the bulk of weird writers had worked largely in the dark without an understanding of the psychological basis of the horror appeal, and hampered by more or less of conformity to certain empty literary conventions such as the happy ending, virtue rewarded, and in general a hollow moral didacticism, acceptance of popular standards and values, and striving of the author to obtrude his own emotions into the story and take sides with the partisans of the majority&rsquos artificial ideas. Poe, on the other hand, perceived the essential impersonality of the real artist and knew that the function of creative fiction is merely to express and interpret events and sensations as they are, regardless of how they tend or what they prove&mdashgood or evil, attractive or repulsive, stimulating or depressing&mdashwith the author always acting as a vivid and detached chronicler rather than as a teacher, sympathiser, or vendor of opinion. He saw clearly that all phases of life and thought are equally eligible as subject-matter for the artist, and being inclined by temperament to strangeness and gloom, decided to be the interpreter of those powerful feeling, and frequent happenings which attend pain rather than pleasure, decay rather than growth, terror rather than tranquillity, and which are fundamentally either adverse or indifferent to the tastes and traditional outward sentiments of mankind, and to the health, sanity, and normal expansive welfare of the species.
Poe&rsquos spectres thus acquired a convincing malignity possessed by none of their predecessors, and established a new standard of realism in the annals of literary horror. The impersonal and artistic intent, moreover, was aided by a scientific attitude not often found before whereby Poe studied the human mind rather than the usages of Gothic fiction, and worked with an analytical knowledge of terror&rsquos true sources which doubled the force of his narratives and emancipated him from all the absurdities inherent in merely conventional shudder-coining. This example having been set, later authors were naturally forced to conform to it in order to compete at all so that in this way a definite change began to affect the main stream of macabre writing. Poe, too, set a fashion in consummate craftsmanship and although today some of his own work seems slightly melodramatic and unsophisticated, we can constantly trace his influence in such things as the maintenance of a single mood and achievement of a single impression in a tale, and the rigorous paring down of incidents to such as have a direct bearing on the plot and will figure prominently in the climax. Truly may it be said that Poe invented the short story in its present form. His elevation of disease, perversity, and decay to the level of artistically expressible themes was likewise infinitely far-reaching in effect for avidly seized, sponsored, and intensified by his eminent French admirer Charles Pierre Baudelaire, it became the nucleus of the principal aesthetic movements in France, thus making Poe in a sense the father of the Decadents and the Symbolists.
Poet and critic by nature and supreme attainment, logician and philosopher by taste and mannerism, Poe was by no means immune from defects and affectations. His pretence to profound and obscure scholarship, his blundering ventures in stilted and laboured pseudo-humour, and his often vitriolic outbursts of critical prejudice must all be recognised and forgiven. Beyond and above them, and dwarfing them to insignificance, was a master&rsquos vision of the terror that stalks about and within us, and the worm that writhes and slavers in the hideously close abyss. Penetrating to every festering horror in the gaily painted mockery called existence, and in the solemn masquerade called human thought and feelings that vision had power to project itself in blackly magical crystallisations and transmutations till there bloomed in the sterile America of the &rsquothirties and &rsquoforties such a moon-nourished garden of gorgeous poison fungi as not even the nether slope of Saturn might boast. Verses and tales alike sustain the burthen of cosmic panic. The raven whose noisome beak pierces the heart, the ghouls that toll iron bells in pestilential steeples, the vault of Ulalume in the black October night, the shocking spires and domes under the sea, the &ldquowild, weird clime that lieth, sublime, out of Space&mdashout of Time&rdquo&mdashall these things and more leer at us amidst maniacal rattlings in the seething nightmare of the poetry. And in the prose there yawn open for us the very jaws of the pit&mdashinconceivable abnormalities slyly hinted into a horrible half-knowledge by words whose innocence we scarcely doubt till the cracked tension of the speaker&rsquos hollow voice bids us fear their nameless implications daemoniac patterns and presences slumbering noxiously till waked for one phobic instant into a shrieking revelation that cackles itself to sudden madness or explodes in memorable and cataclysmic echoes. A Witches&rsquo Sabbath of horror flinging off decorous robes is flashed before us&mdasha sight the more monstrous because of the scientific skill with which every particular is marshalled and brought into an easy apparent relation to the known gruesomeness of material life.
Poe&rsquos tales, of course, fall into several classes some of which contain a purer essence of spiritual horror than others. The tales of logic and ratiocination, forerunners of the modern detective story, are not to be included at all in weird literature whilst certain others, probably influenced considerably by Hoffmann, possess an extravagance which relegates them to the borderline of the grotesque. Still a third group deal with abnormal psychology and monomania in such a way as to express terror but not weirdness. A substantial residuum, however, represent the literature of supernatural horror in its acutest form and give their author a permanent and unassailable place as deity and fountain-head of all modern diabolic fiction. Who can forget the terrible swollen ship poised on the billow-chasm&rsquos edge in &ldquoMS. Found in a Bottle&rdquo&mdashthe dark intimations of her unhallowed age and monstrous growth, her sinister crew of unseeing greybeards, and her frightful southward rush under full sail through the ice of the Antarctic night, sucked onward by some resistless devil-current toward a vortex of eldritch enlightenment which must end in destruction? Then there is the unutterable &ldquoM. Valdemar&rdquo, kept together by hypnotism for seven months after his death, and uttering frantic sounds but a moment before the breaking of the spell leaves him &ldquoa nearly liquid mass of loathsome&mdashof detestable putrescence&rdquo. In the Narrative of A. Gordon Pym the voyagers reach first a strange south polar land of murderous savages where nothing is white and where vast rocky ravines have the form of titanic Egyptian letters spelling terrible primal arcana of earth and thereafter a still more mysterious realm where everything is white, and where shrouded giants and snowy-plumed birds guard a cryptic cataract of mist which empties from immeasurable celestial heights into a torrid milky sea. &ldquoMetzengerstein&rdquo horrifies with its malign hints of a monstrous metempsychosis&mdashthe mad nobleman who burns the stable of his hereditary foe the colossal unknown horse that issues from the blazing building after the owner has perished therein the vanishing bit of ancient tapestry where was shewn the giant horse of the victim&rsquos ancestor in the Crusades the madman&rsquos wild and constant riding on the great horse, and his fear and hatred of the steed the meaningless prophecies that brood obscurely over the warring houses and finally, the burning of the madman&rsquos palace and the death therein of the owner, borne helpless into the flames and up the vast staircases astride the beast he has ridden so strangely. Afterward the rising smoke of the ruins takes the form of a gigantic horse. &ldquoThe Man of the Crowd&rdquo, telling of one who roams day and night to mingle with streams of people as if afraid to be alone, has quieter effects, but implies nothing less of cosmic fear. Poe&rsquos mind was never far from terror and decay, and we see in every tale, poem, and philosophical dialogue a tense eagerness to fathom unplumbed wells of night, to pierce the veil of death, and to reign in fancy as lord of the frightful mysteries of time and space.
Certain of Poe&rsquos tales possess an almost absolute perfection of artistic form which makes them veritable beacon-lights in the province of the short story. Poe could, when he wished, give to his prose a richly poetic cast employing that archaic and Orientalised style with jewelled phrase, quasi-Biblical repetition, and recurrent burthen so successfully used by later writers like Oscar Wilde and Lord Dunsany and in the cases where he has done this we have an effect of lyrical phantasy almost narcotic in essence&mdashan opium pageant of dream in the language of dream, with every unnatural colour and grotesque image bodied forth in a symphony of corresponding sound. &ldquoThe Masque of the Red Death&rdquo, &ldquoSilence&mdashA Fable&rdquo, and &ldquoShadow&mdashA Parable&rdquo are assuredly poems in every sense of the word save the metrical one, and owe as much of their power to aural cadence as to visual imagery. But it is in two of the less openly poetic tales, &ldquoLigeia&rdquo and &ldquoThe Fall of the House of Usher&rdquo&mdashespecially the latter&mdashthat one finds those very summits of artistry whereby Poe takes his place at the head of fictional miniaturists. Simple and straightforward in plot, both of these tales owe their supreme magic to the cunning development which appears in the selection and collocation of every least incident. &ldquoLigeia&rdquo tells of a first wife of lofty and mysterious origin, who after death returns through a preternatural force of will to take possession of the body of a second wife imposing even her physical appearance on the temporary reanimated corpse of her victim at the last moment. Despite a suspicion of prolixity and topheaviness, the narrative reaches its terrific climax with relentless power. &ldquoUsher&rdquo, whose superiority in detail and proportion is very marked, hints shudderingly of obscure life in inorganic things, and displays an abnormally linked trinity of entities at the end of a long and isolated family history&mdasha brother, his twin sister, and their incredibly ancient house all sharing a single soul and meeting one common dissolution at the same moment.
These bizarre conceptions, so awkward in unskilful hands, become under Poe&rsquos spell living and convincing terrors to haunt our nights and all because the author understood so perfectly the very mechanics and physiology of fear and strangeness&mdashthe essential details to emphasise, the precise incongruities and conceits to select as preliminaries or concomitants to horror, the exact incidents and allusions to throw out innocently in advance as symbols or prefigurings of each major step toward the hideous denouement to come, the nice adjustments of cumulative force and the unerring accuracy in linkage of parts which make for faultless unity throughout and thunderous effectiveness at the climactic moment, the delicate nuances of scenic and landscape value to select in establishing and sustaining the desired mood and vitalising the desired illusion&mdashprinciples of this kind, and dozens of obscurer ones too elusive to be described or even fully comprehended by any ordinary commentator. Melodrama and unsophistication there may be&mdashwe are told of one fastidious Frenchman who could not bear to read Poe except in Baudelaire&rsquos urbane and Gallically modulated translation&mdashbut all traces of such things are wholly overshadowed by a potent and inborn sense of the spectral, the morbid, and the horrible which gushed forth from every cell of the artist&rsquos creative mentality and stamped his macabre work with the ineffaceable mark of supreme genius. Poe&rsquos weird tales are alive in a manner that few others can ever hope to be.
Like most fantaisistes, Poe excels in incidents and broad narrative effects rather than in character drawing. His typical protagonist is generally a dark, handsome, proud, melancholy, intellectual, highly sensitive, capricious, introspective, isolated, and sometimes slightly mad gentleman of ancient family and opulent circumstances usually deeply learned in strange lore, and darkly ambitious of penetrating to forbidden secrets of the universe. Aside from a high-sounding name, this character obviously derives little from the early Gothic novel for he is clearly neither the wooden hero nor the diabolical villain of Radcliffian or Ludovician romance. Indirectly, however, he does possess a sort of genealogical connexion since his gloomy, ambitious, and anti-social qualities savour strongly of the typical Byronic hero, who in turn is definitely an offspring of the Gothic Manfreds, Montonis, and Ambrosios. More particular qualities appear to be derived from the psychology of Poe himself, who certainly possessed much of the depression, sensitiveness, mad aspiration, loneliness, and extravagant freakishness which he attributes to his haughty and solitary victims of Fate.

VIII. The Weird Tradition in America
The public for whom Poe wrote, though grossly unappreciative of his art, was by no means unaccustomed to the horrors with which he dealt. America, besides inheriting the usual dark folklore of Europe, had an additional fund of weird associations to draw upon so that spectral legends had already been recognised as fruitful subject-matter for literature. Charles Brockden Brown had achieved phenomenal fame with his Radcliffian romances, and Washington Irving&rsquos lighter treatment of eerie themes had quickly become classic. This additional fund proceeded, as Paul Elmer More has pointed out, from the keen spiritual and theological interests of the first colonists, plus the strange and forbidding nature of the scene into which they were plunged. The vast and gloomy virgin forests in whose perpetual twilight all terrors might well lurk the hordes of coppery Indians whose strange, saturnine visages and violent customs hinted strongly at traces of infernal origin the free rein given under the influence of Puritan theocracy to all manner of notions respecting man&rsquos relation to the stern and vengeful God of the Calvinists, and to the sulphureous Adversary of that God, about whom so much was thundered in the pulpits each Sunday and the morbid introspection developed by an isolated backwoods life devoid of normal amusements and of the recreational mood, harassed by commands for theological self-examination, keyed to unnatural emotional repression, and forming above all a mere grim struggle for survival&mdashall these things conspired to produce an environment in which the black whisperings of sinister grandams were heard far beyond the chimney corner, and in which tales of witchcraft and unbelievable secret monstrosities lingered long after the dread days of the Salem nightmare.
Poe represents the newer, more disillusioned, and more technically finished of the weird schools that rose out of this propitious milieu. Another school&mdashthe tradition of moral values, gentle restraint, and mild, leisurely phantasy tinged more or less with the whimsical&mdashwas represented by another famous, misunderstood, and lonely figure in American letters&mdashthe shy and sensitive Nathaniel Hawthorne, scion of antique Salem and great-grandson of one of the bloodiest of the old witchcraft judges. In Hawthorne we have none of the violence, the daring, the high colouring, the intense dramatic sense, the cosmic malignity, and the undivided and impersonal artistry of Poe. Here, instead, is a gentle soul cramped by the Puritanism of early New England shadowed and wistful, and grieved at an unmoral universe which everywhere transcends the conventional patterns thought by our forefathers to represent divine and immutable law. Evil, a very real force to Hawthorne, appears on every hand as a lurking and conquering adversary and the visible world becomes in his fancy a theatre of infinite tragedy and woe, with unseen half-existent influences hovering over it and through it, battling for supremacy and moulding the destinies of the hapless mortals who form its vain and self-deluded population. The heritage of American weirdness was his to a most intense degree, and he saw a dismal throng of vague spectres behind the common phenomena of life but he was not disinterested enough to value impressions, sensations, and beauties of narration for their own sake. He must needs weave his phantasy into some quietly melancholy fabric of didactic or allegorical cast, in which his meekly resigned cynicism may display with naive moral appraisal the perfidy of a human race which he cannot cease to cherish and mourn despite his insight into its hypocrisy. Supernatural horror, then, is never a primary object with Hawthorne though its impulses were so deeply woven into his personality that he cannot help suggesting it with the force of genius when he calls upon the unreal world to illustrate the pensive sermon he wishes to preach.
Hawthorne&rsquos intimations of the weird, always gentle, elusive, and restrained, may be traced throughout his work. The mood that produced them found one delightful vent in the Teutonised retelling of classic myths for children contained in A Wonder Book and Tanglewood Tales, and at other times exercised itself in casting a certain strangeness and intangible witchery or malevolence over events not meant to be actually supernatural as in the macabre posthumous novel Dr. Grimshawe&rsquos Secret, which invests with a peculiar sort of repulsion a house existing to this day in Salem, and abutting on the ancient Charter Street Burying Ground. In The Marble Faun, whose design was sketched out in an Italian villa reputed to be haunted, a tremendous background of genuine phantasy and mystery palpitates just beyond the common reader&rsquos sight and glimpses of fabulous blood in mortal veins are hinted at during the course of a romance which cannot help being interesting despite the persistent incubus of moral allegory, anti-Popery propaganda, and a Puritan prudery which has caused the late D. H. Lawrence to express a longing to treat the author in a highly undignified manner. Septimius Felton, a posthumous novel whose idea was to have been elaborated and incorporated into the unfinished Dolliver Romance, touches on the Elixir of Life in a more or less capable fashion whilst the notes for a never-written tale to be called &ldquoThe Ancestral Footstep&rdquo shew what Hawthorne would have done with an intensive treatment of an old English superstition&mdashthat of an ancient and accursed line whose members left footprints of blood as they walked&mdashwhich appears incidentally in both Septimius Felton and Dr. Grimshawe&rsquos Secret.
Many of Hawthorne&rsquos shorter tales exhibit weirdness, either of atmosphere or of incident, to a remarkable degree. &ldquoEdward Randolph&rsquos Portrait&rdquo, in Legends of the Province House, has its diabolic moments. &ldquoThe Minister&rsquos Black Veil&rdquo (founded on an actual incident) and &ldquoThe Ambitious Guest&rdquo imply much more than they state, whilst &ldquoEthan Brand&rdquo&mdasha fragment of a longer work never completed&mdashrises to genuine heights of cosmic fear with its vignette of the wild hill country and the blazing, desolate lime-kilns, and its delineation of the Byronic &ldquounpardonable sinner&rdquo, whose troubled life ends with a peal of fearful laughter in the night as he seeks rest amidst the flames of the furnace. Some of Hawthorne&rsquos notes tell of weird tales he would have written had he lived longer&mdashan especially vivid plot being that concerning a baffling stranger who appeared now and then in public assemblies, and who was at last followed and found to come and go from a very ancient grave.
But foremost as a finished, artistic unit among all our author&rsquos weird material is the famous and exquisitely wrought novel, The House of the Seven Gables, in which the relentless working out of an ancestral curse is developed with astonishing power against the sinister background of a very ancient Salem house&mdashone of those peaked Gothic affairs which formed the first regular building-up of our New England coast towns, but which gave way after the seventeenth century to the more familiar gambrel-roofed or classic Georgian types now known as &ldquoColonial&rdquo. Of these old gabled Gothic houses scarcely a dozen are to be seen today in their original condition throughout the United States, but one well known to Hawthorne still stands in Turner Street, Salem, and is pointed out with doubtful authority as the scene and inspiration of the romance. Such an edifice, with its spectral peaks, its clustered chimneys, its overhanging second story, its grotesque corner-brackets, and its diamond-paned lattice windows, is indeed an object well calculated to evoke sombre reflections typifying as it does the dark Puritan age of concealed horror and witch-whispers which preceded the beauty, rationality, and spaciousness of the eighteenth century. Hawthorne saw many in his youth, and knew the black tales connected with some of them. He heard, too, many rumours of a curse upon his own line as the result of his great-grandfather&rsquos severity as a witchcraft judge in 1692.
From this setting came the immortal tale&mdashNew England&rsquos greatest contribution to weird literature&mdashand we can feel in an instant the authenticity of the atmosphere presented to us. Stealthy horror and disease lurk within the weather-blackened, moss-crusted, and elm-shadowed walls of the archaic dwelling so vividly displayed, and we grasp the brooding malignity of the place when we read that its builder&mdashold Colonel Pyncheon&mdashsnatched the land with peculiar ruthlessness from its original settler, Matthew Maule, whom he condemned to the gallows as a wizard in the year of the panic. Maule died cursing old Pyncheon&mdash&ldquoGod will give him blood to drink&rdquo&mdashand the waters of the old well on the seized land turned bitter. Maule&rsquos carpenter son consented to build the great gabled house for his father&rsquos triumphant enemy, but the old Colonel died strangely on the day of its dedication. Then followed generations of odd vicissitudes, with queer whispers about the dark powers of the Maules, and peculiar and sometimes terrible ends befalling the Pyncheons.
The overshadowing malevolence of the ancient house&mdashalmost as alive as Poe&rsquos House of Usher, though in a subtler way&mdashpervades the tale as a recurrent motif pervades an operatic tragedy and when the main story is reached, we behold the modern Pyncheons in a pitiable state of decay. Poor old Hepzibah, the eccentric reduced gentlewoman child-like, unfortunate Clifford, just released from undeserved imprisonment sly and treacherous Judge Pyncheon, who is the old Colonel all over again&mdashall these figures are tremendous symbols, and are well matched by the stunted vegetation and anaemic fowls in the garden. It was almost a pity to supply a fairly happy ending, with a union of sprightly Phoebe, cousin and last scion of the Pyncheons, to the prepossessing young man who turns out to be the last of the Maules. This union, presumably, ends the curse. Hawthorne avoids all violence of diction or movement, and keeps his implications of terror well in the background but occasional glimpses amply serve to sustain the mood and redeem the work from pure allegorical aridity. Incidents like the bewitching of Alice Pyncheon in the early eighteenth century, and the spectral music of her harpsichord which precedes a death in the family&mdashthe latter a variant of an immemorial type of Aryan myth&mdashlink the action directly with the supernatural whilst the dead nocturnal vigil of old Judge Pyncheon in the ancient parlour, with his frightfully ticking watch, is stark horror of the most poignant and genuine sort. The way in which the Judge&rsquos death is first adumbrated by the motions and sniffing of a strange cat outside the window, long before the fact is suspected either by the reader or by any of the characters, is a stroke of genius which Poe could not have surpassed. Later the strange cat watches intently outside that same window in the night and on the next day, for&mdashsomething. It is clearly the psychopomp of primeval myth, fitted and adapted with infinite deftness to its latter-day setting.
But Hawthorne left no well-defined literary posterity. His mood and attitude belonged to the age which closed with him, and it is the spirit of Poe&mdashwho so clearly and realistically understood the natural basis of the horror-appeal and the correct mechanics of its achievement&mdashwhich survived and blossomed. Among the earliest of Poe&rsquos disciples may be reckoned the brilliant young Irishman Fitz-James O&rsquoBrien (1828&ndash1862), who became naturalised as an American and perished honourably in the Civil War. It is he who gave us &ldquoWhat Was It?&rdquo, the first well-shaped short story of a tangible but invisible being, and the prototype of de Maupassant&rsquos &ldquoHorla&rdquo he also who created the inimitable &ldquoDiamond Lens&rdquo, in which a young microscopist falls in love with a maiden of an infinitesimal world which he has discovered in a drop of water. O&rsquoBrien&rsquos early death undoubtedly deprived us of some masterful tales of strangeness and terror, though his genius was not, properly speaking, of the same titan quality which characterised Poe and Hawthorne.
Closer to real greatness was the eccentric and saturnine journalist Ambrose Bierce, born in 1842 who likewise entered the Civil War, but survived to write some immortal tales and to disappear in 1913 in as great a cloud of mystery as any he ever evoked from his nightmare fancy. Bierce was a satirist and pamphleteer of note, but the bulk of his artistic reputation must rest upon his grim and savage short stories a large number of which deal with the Civil War and form the most vivid and realistic expression which that conflict has yet received in fiction. Virtually all of Bierce&rsquos tales are tales of horror and whilst many of them treat only of the physical and psychological horrors within Nature, a substantial proportion admit the malignly supernatural and form a leading element in America&rsquos fund of weird literature. Mr. Samuel Loveman, a living poet and critic who was personally acquainted with Bierce, thus sums up the genius of the great shadow-maker in the preface to some of his letters:

The &ldquoinhumanity&rdquo mentioned by Mr. Loveman finds vent in a rare strain of sardonic comedy and graveyard humour, and a kind of delight in images of cruelty and tantalising disappointment. The former quality is well illustrated by some of the subtitles in the darker narratives such as &ldquoOne does not always eat what is on the table&rdquo, describing a body laid out for a coroner&rsquos inquest, and &ldquoA man though naked may be in rags&rdquo, referring to a frightfully mangled corpse.
Bierce&rsquos work is in general somewhat uneven. Many of the stories are obviously mechanical, and marred by a jaunty and commonplacely artificial style derived from journalistic models but the grim malevolence stalking through all of them is unmistakable, and several stand out as permanent mountain-peaks of American weird writing. &ldquoThe Death of Halpin Frayser&rdquo, called by Frederic Taber Cooper the most fiendishly ghastly tale in the literature of the Anglo-Saxon race, tells of a body skulking by night without a soul in a weird and horribly ensanguined wood, and of a man beset by ancestral memories who met death at the claws of that which had been his fervently loved mother. &ldquoThe Damned Thing&rdquo, frequently copied in popular anthologies, chronicles the hideous devastations of an invisible entity that waddles and flounders on the hills and in the wheatfields by night and day. &ldquoThe Suitable Surroundings&rdquo evokes with singular subtlety yet apparent simplicity a piercing sense of the terror which may reside in the written word. In the story the weird author Colston says to his friend Marsh, &ldquoYou are brave enough to read me in a street-car, but&mdashin a deserted house&mdashalone&mdashin the forest&mdashat night! Bah! I have a manuscript in my pocket that would kill you!&rdquo Marsh reads the manuscript in &ldquothe suitable surroundings&rdquo&mdashand it does kill him. &ldquoThe Middle Toe of the Right Foot&rdquo is clumsily developed, but has a powerful climax. A man named Manton has horribly killed his two children and his wife, the latter of whom lacked the middle toe of the right foot. Ten years later he returns much altered to the neighbourhood and, being secretly recognised, is provoked into a bowie-knife duel in the dark, to be held in the now abandoned house where his crime was committed. When the moment of the duel arrives a trick is played upon him and he is left without an antagonist, shut in a night-black ground floor room of the reputedly haunted edifice, with the thick dust of a decade on every hand. No knife is drawn against him, for only a thorough scare is intended but on the next day he is found crouched in a corner with distorted face, dead of sheer fright at something he has seen. The only clue visible to the discoverers is one having terrible implications: &ldquoIn the dust of years that lay thick upon the floor&mdashleading from the door by which they had entered, straight across the room to within a yard of Manton&rsquos crouching corpse&mdashwere three parallel lines of footprints&mdashlight but definite impressions of bare feet, the outer ones those of small children, the inner a woman&rsquos. From the point at which they ended they did not return they pointed all one way.&rdquo And, of course, the woman&rsquos prints shewed a lack of the middle toe of the right foot. &ldquoThe Spook House&rdquo, told with a severely homely air of journalistic verisimilitude, conveys terrible hints of shocking mystery. In 1858 an entire family of seven persons disappears suddenly and unaccountably from a plantation house in eastern Kentucky, leaving all its possessions untouched&mdashfurniture, clothing, food supplies, horses, cattle, and slaves. About a year later two men of high standing are forced by a storm to take shelter in the deserted dwelling, and in so doing stumble into a strange subterranean room lit by an unaccountable greenish light and having an iron door which cannot be opened from within. In this room lie the decayed corpses of all the missing family and as one of the discoverers rushes forward to embrace a body he seems to recognise, the other is so overpowered by a strange foetor that he accidentally shuts his companion in the vault and loses consciousness. Recovering his senses six weeks later, the survivor is unable to find the hidden room and the house is burned during the Civil War. The imprisoned discoverer is never seen or heard of again.
Bierce seldom realises the atmospheric possibilities of his themes as vividly as Poe and much of his work contains a certain touch of naiveté, prosaic angularity, or early-American provincialism which contrasts somewhat with the efforts of later horror-masters. Nevertheless the genuineness and artistry of his dark intimations are always unmistakable, so that his greatness is in no danger of eclipse. As arranged in his definitively collected works, Bierce&rsquos weird tales occur mainly in two volumes, Can Such Things Be? and In the Midst of Life. The former, indeed, is almost wholly given over to the supernatural.
Much of the best in American horror-literature has come from pens not mainly devoted to that medium. Oliver Wendell Holmes&rsquos historic Elsie Venner suggests with admirable restraint an unnatural ophidian element in a young woman pre-natally influenced, and sustains the atmosphere with finely discriminating landscape touches. In The Turn of the Screw Henry James triumphs over his inevitable pomposity and prolixity sufficiently well to create a truly potent air of sinister menace depicting the hideous influence of two dead and evil servants, Peter Quint and the governess Miss Jessel, over a small boy and girl who had been under their care. James is perhaps too diffuse, too unctuously urbane, and too much addicted to subtleties of speech to realise fully all the wild and devastating horror in his situations but for all that there is a rare and mounting tide of fright, culminating in the death of the little boy, which gives the novelette a permanent place in its special class.
F. Marion Crawford produced several weird tales of varying quality, now collected in a volume entitled Wandering Ghosts. &ldquoFor the Blood Is the Life&rdquo touches powerfully on a case of moon-cursed vampirism near an ancient tower on the rocks of the lonely South Italian sea-coast. &ldquoThe Dead Smile&rdquo treats of family horrors in an old house and an ancestral vault in Ireland, and introduces the banshee with considerable force. &ldquoThe Upper Berth&rdquo, however, is Crawford&rsquos weird masterpiece and is one of the most tremendous horror-stories in all literature. In this tale of a suicide-haunted stateroom such things as the spectral salt-water dampness, the strangely open porthole, and the nightmare struggle with the nameless object are handled with incomparable dexterity.
Very genuine, though not without the typical mannered extravagance of the eighteen-nineties, is the strain of horror in the early work of Robert W. Chambers, since renowned for products of a very different quality. The King in Yellow, a series of vaguely connected short stories having as a background a monstrous and suppressed book whose perusal brings fright, madness, and spectral tragedy, really achieves notable heights of cosmic fear in spite of uneven interest and a somewhat trivial and affected cultivation of the Gallic studio atmosphere made popular by Du Maurier&rsquos Trilby. The most powerful of its tales, perhaps, is &ldquoThe Yellow Sign&rdquo, in which is introduced a silent and terrible churchyard watchman with a face like a puffy grave-worm&rsquos. A boy, describing a tussle he has had with this creature, shivers and sickens as he relates a certain detail. &ldquoWell, sir, it&rsquos Gawd&rsquos truth that when I &rsquoit &rsquoim &rsquoe grabbed me wrists, sir, and when I twisted &rsquois soft, mushy fist one of &rsquois fingers come off in me &rsquoand.&rdquo An artist, who after seeing him has shared with another a strange dream of a nocturnal hearse, is shocked by the voice with which the watchman accosts him. The fellow emits a muttering sound that fills the head like thick oily smoke from a fat-rendering vat or an odour of noisome decay. What he mumbles is merely this: &ldquoHave you found the Yellow Sign?&rdquo
A weirdly hieroglyphed onyx talisman, picked up in the street by the sharer of his dream, is shortly given the artist and after stumbling queerly upon the hellish and forbidden book of horrors the two learn, among other hideous things which no sane mortal should know, that this talisman is indeed the nameless Yellow Sign handed down from the accursed cult of Hastur&mdashfrom primordial Carcosa, whereof the volume treats, and some nightmare memory of which seems to lurk latent and ominous at the back of all men&rsquos minds. Soon they hear the rumbling of the black-plumed hearse driven by the flabby and corpse-faced watchman. He enters the night-shrouded house in quest of the Yellow Sign, all bolts and bars rotting at his touch. And when the people rush in, drawn by a scream that no human throat could utter, they find three forms on the floor&mdashtwo dead and one dying. One of the dead shapes is far gone in decay. It is the churchyard watchman, and the doctor exclaims, &ldquoThat man must have been dead for months.&rdquo It is worth observing that the author derives most of the names and allusions connected with his eldritch land of primal memory from the tales of Ambrose Bierce. Other early works of Mr. Chambers displaying the outré and macabre element are The Maker of Moons and In Search of the Unknown. One cannot help regretting that he did not further develop a vein in which he could so easily have become a recognised master.
Horror material of authentic force may be found in the work of the New England realist Mary E. Wilkins whose volume of short tales, The Wind in the Rose-Bush, contains a number of noteworthy achievements. In &ldquoThe Shadows on the Wall&rdquo we are shewn with consummate skill the response of a staid New England household to uncanny tragedy and the sourceless shadow of the poisoned brother well prepares us for the climactic moment when the shadow of the secret murderer, who has killed himself in a neighbouring city, suddenly appears beside it. Charlotte Perkins Gilman, in &ldquoThe Yellow Wall Paper&rdquo, rises to a classic level in subtly delineating the madness which crawls over a woman dwelling in the hideously papered room where a madwoman was once confined.
In &ldquoThe Dead Valley&rdquo the eminent architect and mediaevalist Ralph Adams Cram achieves a memorably potent degree of vague regional horror through subtleties of atmosphere and description.
Still further carrying on our spectral tradition is the gifted and versatile humourist Irvin S. Cobb, whose work both early and recent contains some finely weird specimens. &ldquoFishhead&rdquo, an early achievement, is banefully effective in its portrayal of unnatural affinities between a hybrid idiot and the strange fish of an isolated lake, which at the last avenge their biped kinsman&rsquos murder. Later work of Mr. Cobb introduces an element of possible science, as in the tale of hereditary memory where a modern man with a negroid strain utters words in African jungle speech when run down by a train under visual and aural circumstances recalling the maiming of his black ancestor by a rhinoceros a century before.
Extremely high in artistic stature is the novel The Dark Chamber (1927), by the late Leonard Cline. This is the tale of a man who&mdashwith the characteristic ambition of the Gothic or Byronic hero-villain&mdashseeks to defy Nature and recapture every moment of his past life through the abnormal stimulation of memory. To this end he employs endless notes, records, mnemonic objects, and pictures&mdashand finally odours, music, and exotic drugs. At last his ambition goes beyond his personal life and reaches toward the black abysses of hereditary memory&mdasheven back to pre-human days amidst the steaming swamps of the Carboniferous age, and to still more unimaginable deeps of primal time and entity. He calls for madder music and takes stronger drugs, and finally his great dog grows oddly afraid of him. A noxious animal stench encompasses him, and he grows vacant-faced and sub-human. In the end he takes to the woods, howling at night beneath windows. He is finally found in a thicket, mangled to death. Beside him is the mangled corpse of his dog. They have killed each other. The atmosphere of this novel is malevolently potent, much attention being paid to the central figure&rsquos sinister home and household.
A less subtle and well-balanced but nevertheless highly effective creation is Herbert S. Gorman&rsquos novel, The Place Called Dagon, which relates the dark history of a western Massachusetts backwater where the descendants of refugees from the Salem witchcraft still keep alive the morbid and degenerate horrors of the Black Sabbat.
Sinister House, by Leland Hall, has touches of magnificent atmosphere but is marred by a somewhat mediocre romanticism.
Very notable in their way are some of the weird conceptions of the novelist and short-story writer Edward Lucas White, most of whose themes arise from actual dreams. &ldquoThe Song of the Sirens&rdquo has a very pervasive strangeness, while such things as &ldquoLukundoo&rdquo and &ldquoThe Snout&rdquo rouse darker apprehensions. Mr. White imparts a very peculiar quality to his tales&mdashan oblique sort of glamour which has its own distinctive type of convincingness.
Of younger Americans, none strikes the note of cosmic terror so well as the California poet, artist, and fictionist Clark Ashton Smith, whose bizarre writings, drawings, paintings, and stories are the delight of a sensitive few. Mr. Smith has for his background a universe of remote and paralysing fright&mdashjungles of poisonous and iridescent blossoms on the moons of Saturn, evil and grotesque temples in Atlantis, Lemuria, and forgotten elder worlds, and dank morasses of spotted death-fungi in spectral countries beyond earth&rsquos rim. His longest and most ambitious poem, The Hashish-Eater, is in pentameter blank verse and opens up chaotic and incredible vistas of kaleidoscopic nightmare in the spaces between the stars. In sheer daemonic strangeness and fertility of conception, Mr. Smith is perhaps unexcelled by any other writer dead or living. Who else has seen such gorgeous, luxuriant, and feverishly distorted visions of infinite spheres and multiple dimensions and lived to tell the tale? His short stories deal powerfully with other galaxies, worlds, and dimensions, as well as with strange regions and aeons on the earth. He tells of primal Hyperborea and its black amorphous god Tsathoggua of the lost continent Zothique, and of the fabulous, vampire-curst land of Averoigne in mediaeval France. Some of Mr. Smith&rsquos best work can be found in the brochure entitled The Double Shadow and Other Fantasies (1933).

IX. The Weird Tradition in the British Isles
Recent British literature, besides including the three or four greatest fantaisistes of the present age, has been gratifyingly fertile in the element of the weird. Rudyard Kipling has often approached it and has, despite the omnipresent mannerisms, handled it with indubitable mastery in such tales as &ldquoThe Phantom &rsquoRickshaw&rdquo, &ldquo &lsquoThe Finest Story in the World&rsquo &rdquo, &ldquoThe Recrudescence of Imray&rdquo, and &ldquoThe Mark of the Beast&rdquo. This latter is of particular poignancy the pictures of the naked leper-priest who mewed like an otter, of the spots which appeared on the chest of the man that priest cursed, of the growing carnivorousness of the victim and of the fear which horses began to display toward him, and of the eventually half-accomplished transformation of that victim into a leopard, being things which no reader is ever likely to forget. The final defeat of the malignant sorcery does not impair the force of the tale or the validity of its mystery.
Lafcadio Hearn, strange, wandering, and exotic, departs still farther from the realm of the real and with the supreme artistry of a sensitive poet weaves phantasies impossible to an author of the solid roast-beef type. His Fantastics, written in America, contains some of the most impressive ghoulishness in all literature whilst his Kwaidan, written in Japan, crystallises with matchless skill and delicacy the eerie lore and whispered legends of that richly colourful nation. Still more of Hearn&rsquos weird wizardry of language is shewn in some of his translations from the French, especially from Gautier and Flaubert. His version of the latter&rsquos Temptation of St. Anthony is a classic of fevered and riotous imagery clad in the magic of singing words.
Oscar Wilde may likewise be given a place amongst weird writers, both for certain of his exquisite fairy tales, and for his vivid Picture of Dorian Gray, in which a marvellous portrait for years assumes the duty of ageing and coarsening instead of its original, who meanwhile plunges into every excess of vice and crime without the outward loss of youth, beauty, and freshness. There is a sudden and potent climax when Dorian Gray, at last become a murderer, seeks to destroy the painting whose changes testify to his moral degeneracy. He stabs it with a knife, and a hideous cry and crash are heard but when the servants enter they find it in all its pristine loveliness. &ldquoLying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognised who it was.&rdquo
Matthew Phipps Shiel, author of many weird, grotesque, and adventurous novels and tales, occasionally attains a high level of horrific magic. &ldquoXélucha&rdquo is a noxiously hideous fragment, but is excelled by Mr. Shiel&rsquos undoubted masterpiece, &ldquoThe House of Sounds&rdquo, floridly written in the &ldquoyellow &rsquonineties&rdquo, and re-cast with more artistic restraint in the early twentieth century. This story, in final form, deserves a place among the foremost things of its kind. It tells of a creeping horror and menace trickling down the centuries on a sub-arctic island off the coast of Norway where, amidst the sweep of daemon winds and the ceaseless din of hellish waves and cataracts, a vengeful dead man built a brazen tower of terror. It is vaguely like, yet infinitely unlike, Poe&rsquos &ldquoFall of the House of Usher&rdquo. In the novel The Purple Cloud Mr. Shiel describes with tremendous power a curse which came out of the arctic to destroy mankind, and which for a time appears to have left but a single inhabitant on our planet. The sensations of this lone survivor as he realises his position, and roams through the corpse-littered and treasure-strown cities of the world as their absolute master, are delivered with a skill and artistry falling little short of actual majesty. Unfortunately the second half of the book, with its conventionally romantic element, involves a distinct &ldquoletdown&rdquo.
Better known than Shiel is the ingenious Bram Stoker, who created many starkly horrific conceptions in a series of novels whose poor technique sadly impairs their net effect. The Lair of the White Worm, dealing with a gigantic primitive entity that lurks in a vault beneath an ancient castle, utterly ruins a magnificent idea by a development almost infantile. The Jewel of Seven Stars, touching on a strange Egyptian resurrection, is less crudely written. But best of all is the famous Dracula, which has become almost the standard modern exploitation of the frightful vampire myth. Count Dracula, a vampire, dwells in a horrible castle in the Carpathians but finally migrates to England with the design of populating the country with fellow vampires. How an Englishman fares within Dracula&rsquos stronghold of terrors, and how the dead fiend&rsquos plot for domination is at last defeated, are elements which unite to form a tale now justly assigned a permanent place in English letters. Dracula evoked many similar novels of supernatural horror, among which the best are perhaps The Beetle, by Richard Marsh, Brood of the Witch-Queen, by &ldquoSax Rohmer&rdquo (Arthur Sarsfield Ward), and The Door of the Unreal, by Gerald Biss. The latter handles quite dexterously the standard werewolf superstition. Much subtler and more artistic, and told with singular skill through the juxtaposed narratives of the several characters, is the novel Cold Harbour, by Francis Brett Young, in which an ancient house of strange malignancy is powerfully delineated. The mocking and well-nigh omnipotent fiend Humphrey Furnival holds echoes of the Manfred-Montoni type of early Gothic &ldquovillain&rdquo, but is redeemed from triteness by many clever individualities. Only the slight diffuseness of explanation at the close, and the somewhat too free use of divination as a plot factor, keep this tale from approaching absolute perfection.
In the novel Witch Wood John Buchan depicts with tremendous force a survival of the evil Sabbat in a lonely district of Scotland. The description of the black forest with the evil stone, and of the terrible cosmic adumbrations when the horror is finally extirpated, will repay one for wading through the very gradual action and plethora of Scottish dialect. Some of Mr. Buchan&rsquos short stories are also extremely vivid in their spectral intimations &ldquoThe Green Wildebeest&rdquo, a tale of African witchcraft, &ldquoThe Wind in the Portico&rdquo, with its awakening of dead Britanno-Roman horrors, and &ldquoSkule Skerry&rdquo, with its touches of sub-arctic fright, being especially remarkable.
Clemence Housman, in the brief novelette &ldquoThe Were-wolf&rdquo, attains a high degree of gruesome tension and achieves to some extent the atmosphere of authentic folklore. In The Elixir of Life Arthur Ransome attains some darkly excellent effects despite a general naiveté of plot, while H. B. Drake&rsquos The Shadowy Thing summons up strange and terrible vistas. George Macdonald&rsquos Lilith has a compelling bizarrerie all its own the first and simpler of the two versions being perhaps the more effective.
Deserving of distinguished notice as a forceful craftsman to whom an unseen mystic world is ever a close and vital reality is the poet Walter de la Mare, whose haunting verse and exquisite prose alike bear consistent traces of a strange vision reaching deeply into veiled spheres of beauty and terrible and forbidden dimensions of being. In the novel The Return we see the soul of a dead man reach out of its grave of two centuries and fasten itself upon the flesh of the living, so that even the face of the victim becomes that which had long ago returned to dust. Of the shorter tales, of which several volumes exist, many are unforgettable for their command of fear&rsquos and sorcery&rsquos darkest ramifications notably &ldquoSeaton&rsquos Aunt&rdquo, in which there lowers a noxious background of malignant vampirism &ldquoThe Tree&rdquo, which tells of a frightful vegetable growth in the yard of a starving artist &ldquoOut of the Deep&rdquo, wherein we are given leave to imagine what thing answered the summons of a dying wastrel in a dark lonely house when he pulled a long-feared bell-cord in the attic chamber of his dread-haunted boyhood &ldquoA Recluse&rdquo, which hints at what sent a chance guest flying from a house in the night &ldquoMr. Kempe&rdquo, which shews us a mad clerical hermit in quest of the human soul, dwelling in a frightful sea-cliff region beside an archaic abandoned chapel and &ldquoAll-Hallows&rdquo, a glimpse of daemoniac forces besieging a lonely mediaeval church and miraculously restoring the rotting masonry. De la Mare does not make fear the sole or even the dominant element of most of his tales, being apparently more interested in the subtleties of character involved. Occasionally he sinks to sheer whimsical phantasy of the Barrie order. Still, he is among the very few to whom unreality is a vivid, living presence and as such he is able to put into his occasional fear-studies a keen potency which only a rare master can achieve. His poem &ldquoThe Listeners&rdquo restores the Gothic shudder to modern verse.
The weird short story has fared well of late, an important contributor being the versatile E. F. Benson, whose &ldquoThe Man Who Went Too Far&rdquo breathes whisperingly of a house at the edge of a dark wood, and of Pan&rsquos hoof-mark on the breast of a dead man. Mr. Benson&rsquos volume, Visible and Invisible, contains several stories of singular power notably &ldquoNegotium Perambulans&rdquo, whose unfolding reveals an abnormal monster from an ancient ecclesiastical panel which performs an act of miraculous vengeance in a lonely village on the Cornish coast, and &ldquoThe Horror-Horn&rdquo, through which lopes a terrible half-human survival dwelling on unvisited Alpine peaks. &ldquoThe Face&rdquo, in another collection, is lethally potent in its relentless aura of doom. H. R. Wakefield, in his collections They Return at Evening and Others Who Return, manages now and then to achieve great heights of horror despite a vitiating air of sophistication. The most notable stories are &ldquoThe Red Lodge&rdquo with its slimy aqueous evil, &ldquo&lsquoHe Cometh and He Passeth By&rsquo&rdquo, &ldquo&lsquoAnd He Shall Sing . . .&rsquo&rdquo, &ldquoThe Cairn&rdquo, &ldquo&lsquoLook Up There!&rsquo&rdquo, &ldquoBlind Man&rsquos Buff&rdquo, and that bit of lurking millennial horror, &ldquoThe Seventeenth Hole at Duncaster&rdquo. Mention has been made of the weird work of H. G. Wells and A. Conan Doyle. The former, in &ldquoThe Ghost of Fear&rdquo, reaches a very high level while all the items in Thirty Strange Stories have strong fantastic implications. Doyle now and then struck a powerfully spectral note, as in &ldquoThe Captain of the &lsquoPole-Star&rsquo &rdquo, a tale of arctic ghostliness, and &ldquoLot No. 249&rdquo, wherein the reanimated mummy theme is used with more than ordinary skill. Hugh Walpole, of the same family as the founder of Gothic fiction, has sometimes approached the bizarre with much success his short story &ldquoMrs. Lunt&rdquo carrying a very poignant shudder. John Metcalfe, in the collection published as The Smoking Leg, attains now and then a rare pitch of potency the tale entitled &ldquoThe Bad Lands&rdquo containing graduations of horror that strongly savour of genius. More whimsical and inclined toward the amiable and innocuous phantasy of Sir J. M. Barrie are the short tales of E. M. Forster, grouped under the title of The Celestial Omnibus. Of these only one, dealing with a glimpse of Pan and his aura of fright, may be said to hold the true element of cosmic horror. Mrs. H. D. Everett, though adhering to very old and conventional models, occasionally reaches singular heights of spiritual terror in her collection of short stories. L. P. Hartley is notable for his incisive and extremely ghastly tale, &ldquoA Visitor from Down Under&rdquo. May Sinclair&rsquos Uncanny Stories contain more of traditional occultism than of that creative treatment of fear which marks mastery in this field, and are inclined to lay more stress on human emotions and psychological delving than upon the stark phenomena of a cosmos utterly unreal. It may be well to remark here that occult believers are probably less effective than materialists in delineating the spectral and the fantastic, since to them the phantom world is so commonplace a reality that they tend to refer to it with less awe, remoteness, and impressiveness than do those who see in it an absolute and stupendous violation of the natural order.
Of rather uneven stylistic quality, but vast occasional power in its suggestion of lurking worlds and beings behind the ordinary surface of life, is the work of William Hope Hodgson, known today far less than it deserves to be. Despite a tendency toward conventionally sentimental conceptions of the universe, and of man&rsquos relation to it and to his fellows, Mr. Hodgson is perhaps second only to Algernon Blackwood in his serious treatment of unreality. Few can equal him in adumbrating the nearness of nameless forces and monstrous besieging entities through casual hints and insignificant details, or in conveying feelings of the spectral and the abnormal in connexion with regions or buildings.
In The Boats of the &ldquoGlen Carrig&rdquo (1907) we are shewn a variety of malign marvels and accursed unknown lands as encountered by the survivors of a sunken ship. The brooding menace in the earlier parts of the book is impossible to surpass, though a letdown in the direction of ordinary romance and adventure occurs toward the end. An inaccurate and pseudo-romantic attempt to reproduce eighteenth-century prose detracts from the general effect, but the really profound nautical erudition everywhere displayed is a compensating factor.
The House on the Borderland (1908)&mdashperhaps the greatest of all Mr. Hodgson&rsquos works&mdashtells of a lonely and evilly regarded house in Ireland which forms a focus for hideous other-world forces and sustains a siege by blasphemous hybrid anomalies from a hidden abyss below. The wanderings of the narrator&rsquos spirit through limitless light-years of cosmic space and kalpas of eternity, and its witnessing of the solar system&rsquos final destruction, constitute something almost unique in standard literature. And everywhere there is manifest the author&rsquos power to suggest vague, ambushed horrors in natural scenery. But for a few touches of commonplace sentimentality this book would be a classic of the first water.
The Ghost Pirates (1909), regarded by Mr. Hodgson as rounding out a trilogy with the two previously mentioned works, is a powerful account of a doomed and haunted ship on its last voyage, and of the terrible sea-devils (of quasi-human aspect, and perhaps the spirits of bygone buccaneers) that besiege it and finally drag it down to an unknown fate. With its command of maritime knowledge, and its clever selection of hints and incidents suggestive of latent horrors in Nature, this book at times reaches enviable peaks of power.
The Night Land (1912) is a long-extended (583 pp.) tale of the earth&rsquos infinitely remote future&mdashbillions of billions of years ahead, after the death of the sun. It is told in a rather clumsy fashion, as the dreams of a man in the seventeenth century, whose mind merges with its own future incarnation and is seriously marred by painful verboseness, repetitiousness, artificial and nauseously sticky romantic sentimentality, and an attempt at archaic language even more grotesque and absurd than that in &ldquoGlen Carrig&rdquo.
Allowing for all its faults, it is yet one of the most potent pieces of macabre imagination ever written. The picture of a night-black, dead planet, with the remains of the human race concentrated in a stupendously vast metal pyramid and besieged by monstrous, hybrid, and altogether unknown forces of the darkness, is something that no reader can ever forget. Shapes and entities of an altogether non-human and inconceivable sort&mdashthe prowlers of the black, man-forsaken, and unexplored world outside the pyramid&mdashare suggested and partly described with ineffable potency while the night-bound landscape with its chasms and slopes and dying volcanism takes on an almost sentient terror beneath the author&rsquos touch.
Midway in the book the central figure ventures outside the pyramid on a quest through death-haunted realms untrod by man for millions of years&mdashand in his slow, minutely described, day-by-day progress over unthinkable leagues of immemorial blackness there is a sense of cosmic alienage, breathless mystery, and terrified expectancy unrivalled in the whole range of literature. The last quarter of the book drags woefully, but fails to spoil the tremendous power of the whole.
Mr. Hodgson&rsquos later volume, Carnacki, the Ghost-Finder, consists of several longish short stories published many years before in magazines. In quality it falls conspicuously below the level of the other books. We here find a more or less conventional stock figure of the &ldquoinfallible detective&rdquo type&mdashthe progeny of M. Dupin and Sherlock Holmes, and the close kin of Algernon Blackwood&rsquos John Silence&mdashmoving through scenes and events badly marred by an atmosphere of professional &ldquooccultism&rdquo. A few of the episodes, however, are of undeniable power and afford glimpses of the peculiar genius characteristic of the author.
Naturally it is impossible in a brief sketch to trace out all the classic modern uses of the terror element. The ingredient must of necessity enter into all work both prose and verse treating broadly of life and we are therefore not surprised to find a share in such writers as the poet Browning, whose &ldquoChilde Roland to the Dark Tower Came &rdquo is instinct with hideous menace, or the novelist Joseph Conrad, who often wrote of the dark secrets within the sea, and of the daemoniac driving power of Fate as influencing the lives of lonely and maniacally resolute men. Its trail is one of infinite ramifications but we must here confine ourselves to its appearance in a relatively unmixed state, where it determines and dominates the work of art containing it.
Somewhat separate from the main British stream is that current of weirdness in Irish literature which came to the fore in the Celtic Renaissance of the later nineteenth and early twentieth centuries. Ghost and fairy lore have always been of great prominence in Ireland, and for over an hundred years have been recorded by a line of such faithful transcribers and translators as William Carleton, T. Crofton Croker, Lady Wilde&mdashmother of Oscar Wilde&mdashDouglas Hyde, and W. B. Yeats. Brought to notice by the modern movement, this body of myth has been carefully collected and studied and its salient features reproduced in the work of later figures like Yeats, J. M. Synge, &ldquoA. E.&rdquo, Lady Gregory, Padraic Colum, James Stephens, and their colleagues.
Whilst on the whole more whimsically fantastic than terrible, such folklore and its consciously artistic counterparts contain much that falls truly within the domain of cosmic horror. Tales of burials in sunken churches beneath haunted lakes, accounts of death-heralding banshees and sinister changelings, ballads of spectres and &ldquothe unholy creatures of the raths&rdquo&mdashall these have their poignant and definite shivers, and mark a strong and distinctive element in weird literature. Despite homely grotesqueness and absolute naiveté, there is genuine nightmare in the class of narrative represented by the yarn of Teig O&rsquoKane, who in punishment for his wild life was ridden all night by a hideous corpse that demanded burial and drove him from churchyard to churchyard as the dead rose up loathsomely in each one and refused to accommodate the newcomer with a berth. Yeats, undoubtedly the greatest figure of the Irish revival if not the greatest of all living poets, has accomplished notable things both in original work and in the codification of old legends.

X. The Modern Masters
The best horror-tales of today, profiting by the long evolution of the type, possess a naturalness, convincingness, artistic smoothness, and skilful intensity of appeal quite beyond comparison with anything in the Gothic work of a century or more ago. Technique, craftsmanship, experience, and psychological knowledge have advanced tremendously with the passing years, so that much of the older work seems naive and artificial redeemed, when redeemed at all, only by a genius which conquers heavy limitations. The tone of jaunty and inflated romance, full of false motivation and investing every conceivable event with a counterfeit significance and carelessly inclusive glamour, is now confined to lighter and more whimsical phases of supernatural writing. Serious weird stories are either made realistically intense by close consistency and perfect fidelity to Nature except in the one supernatural direction which the author allows himself, or else cast altogether in the realm of phantasy, with atmosphere cunningly adapted to the visualisation of a delicately exotic world of unreality beyond space and time, in which almost anything may happen if it but happen in true accord with certain types of imagination and illusion normal to the sensitive human brain. This, at least, is the dominant tendency though of course many great contemporary writers slip occasionally into some of the flashy postures of immature romanticism, or into bits of the equally empty and absurd jargon of pseudo-scientific &ldquooccultism&rdquo, now at one of its periodic high tides.

Of living creators of cosmic fear raised to its most artistic pitch, few if any can hope to equal the versatile Arthur Machen author of some dozen tales long and short, in which the elements of hidden horror and brooding fright attain an almost incomparable substance and realistic acuteness. Mr. Machen, a general man of letters and master of an exquisitely lyrical and expressive prose style, has perhaps put more conscious effort into his picaresque Chronicle of Clemendy, his refreshing essays, his vivid autobiographical volumes, his fresh and spirited translations, and above all his memorable epic of the sensitive aesthetic mind, The Hill of Dreams, in which the youthful hero responds to the magic of that ancient Welsh environment which is the author&rsquos own, and lives a dream-life in the Roman city of Isca Silurum, now shrunk to the relic-strown village of Caerleon-on-Usk. But the fact remains that his powerful horror-material of the &rsquonineties and earlier nineteen-hundreds stands alone in its class, and marks a distinct epoch in the history of this literary form.
Mr. Machen, with an impressionable Celtic heritage linked to keen youthful memories of the wild domed hills, archaic forests, and cryptical Roman ruins of the Gwent countryside, has developed an imaginative life of rare beauty, intensity, and historic background. He has absorbed the mediaeval mystery of dark woods and ancient customs, and is a champion of the Middle Ages in all things&mdashincluding the Catholic faith. He has yielded, likewise, to the spell of the Britanno-Roman life which once surged over his native region and finds strange magic in the fortified camps, tessellated pavements, fragments of statues, and kindred things which tell of the day when classicism reigned and Latin was the language of the country. A young American poet, Frank Belknap Long, Jun., has well summarised this dreamer&rsquos rich endowments and wizardry of expression in the sonnet &ldquoOn Reading Arthur Machen&rdquo:

&ldquoThere is a glory in the autumn wood
The ancient lanes of England wind and climb
Past wizard oaks and gorse and tangled thyme
To where a fort of mighty empire stood:
There is a glamour in the autumn sky
The reddened clouds are writhing in the glow
Of some great fire, and there are glints below
Of tawny yellow where the embers die.

I wait, for he will show me, clear and cold,
High-rais&rsquod in splendour, sharp against the North,
The Roman eagles, and thro&rsquo mists of gold
The marching legions as they issue forth:
I wait, for I would share with him again
The ancient wisdom, and the ancient pain.&rdquo

Of Mr. Machen&rsquos horror-tales the most famous is perhaps &ldquoThe Great God Pan&rdquo (1894), which tells of a singular and terrible experiment and its consequences. A young woman, through surgery of the brain-cells, is made to see the vast and monstrous deity of Nature, and becomes an idiot in consequence, dying less than a year later. Years afterward a strange, ominous, and foreign-looking child named Helen Vaughan is placed to board with a family in rural Wales, and haunts the woods in unaccountable fashion. A little boy is thrown out of his mind at sight of someone or something he spies with her, and a young girl comes to a terrible end in similar fashion. All this mystery is strangely interwoven with the Roman rural deities of the place, as sculptured in antique fragments. After another lapse of years, a woman of strangely exotic beauty appears in society, drives her husband to horror and death, causes an artist to paint unthinkable paintings of Witches&rsquo Sabbaths, creates an epidemic of suicide among the men of her acquaintance, and is finally discovered to be a frequenter of the lowest dens of vice in London, where even the most callous degenerates are shocked at her enormities. Through the clever comparing of notes on the part of those who have had word of her at various stages of her career, this woman is discovered to be the girl Helen Vaughan who is the child&mdashby no mortal father&mdashof the young woman on whom the brain experiment was made. She is a daughter of hideous Pan himself, and at the last is put to death amidst horrible transmutations of form involving changes of sex and a descent to the most primal manifestations of the life-principle.
But the charm of the tale is in the telling. No one could begin to describe the cumulative suspense and ultimate horror with which every paragraph abounds without following fully the precise order in which Mr. Machen unfolds his gradual hints and revelations. Melodrama is undeniably present, and coincidence is stretched to a length which appears absurd upon analysis but in the malign witchery of the tale as a whole these trifles are forgotten, and the sensitive reader reaches the end with only an appreciative shudder and a tendency to repeat the words of one of the characters: &ldquoIt is too incredible, too monstrous such things can never be in this quiet world. . . . Why, man, if such a case were possible, our earth would be a nightmare.&rdquo
Less famous and less complex in plot than &ldquoThe Great God Pan&rdquo, but definitely finer in atmosphere and general artistic value, is the curious and dimly disquieting chronicle called &ldquoThe White People&rdquo, whose central portion purports to be the diary or notes of a little girl whose nurse has introduced her to some of the forbidden magic and soul-blasting traditions of the noxious witch-cult&mdashthe cult whose whispered lore was handed down long lines of peasantry throughout Western Europe, and whose members sometimes stole forth at night, one by one, to meet in black woods and lonely places for the revolting orgies of the Witches&rsquo Sabbath. Mr. Machen&rsquos narrative, a triumph of skilful selectiveness and restraint, accumulates enormous power as it flows on in a stream of innocent childish prattle introducing allusions to strange &ldquonymphs&rdquo, &ldquoDôls&rdquo, &ldquovoolas&rdquo, &ldquoWhite, Green, and Scarlet Ceremonies&rdquo, &ldquoAklo letters&rdquo, &ldquoChian language&rdquo, &ldquoMao games&rdquo, and the like. The rites learned by the nurse from her witch grandmother are taught to the child by the time she is three years old, and her artless accounts of the dangerous secret revelations possess a lurking terror generously mixed with pathos. Evil charms well known to anthropologists are described with juvenile naiveté, and finally there comes a winter afternoon journey into the old Welsh hills, performed under an imaginative spell which lends to the wild scenery an added weirdness, strangeness, and suggestion of grotesque sentience. The details of this journey are given with marvellous vividness, and form to the keen critic a masterpiece of fantastic writing, with almost unlimited power in the intimation of potent hideousness and cosmic aberration. At length the child&mdashwhose age is then thirteen&mdashcomes upon a cryptic and banefully beautiful thing in the midst of a dark and inaccessible wood. She flees in awe, but is permanently altered and repeatedly revisits the wood. In the end horror overtakes her in a manner deftly prefigured by an anecdote in the prologue, but she poisons herself in time. Like the mother of Helen Vaughan in The Great God Pan, she has seen that frightful deity. She is discovered dead in the dark wood beside the cryptic thing she found and that thing&mdasha whitely luminous statue of Roman workmanship about which dire mediaeval rumours had clustered&mdashis affrightedly hammered into dust by the searchers.
In the episodic novel of The Three Impostors, a work whose merit as a whole is somewhat marred by an imitation of the jaunty Stevenson manner, occur certain tales which perhaps represent the high-water mark of Machen&rsquos skill as a terror-weaver. Here we find in its most artistic form a favourite weird conception of the author&rsquos the notion that beneath the mounds and rocks of the wild Welsh hills dwell subterraneously that squat primitive race whose vestiges gave rise to our common folk legends of fairies, elves, and the &ldquolittle people&rdquo, and whose acts are even now responsible for certain unexplained disappearances, and occasional substitutions of strange dark &ldquochangelings&rdquo for normal infants. This theme receives its finest treatment in the episode entitled &ldquoThe Novel of the Black Seal&rdquo where a professor, having discovered a singular identity between certain characters scrawled on Welsh limestone rocks and those existing in a prehistoric black seal from Babylon, sets out on a course of discovery which leads him to unknown and terrible things. A queer passage in the ancient geographer Solinus, a series of mysterious disappearances in the lonely reaches of Wales, a strange idiot son born to a rural mother after a fright in which her inmost faculties were shaken all these things suggest to the professor a hideous connexion and a condition revolting to any friend and respecter of the human race. He hires the idiot boy, who jabbers strangely at times in a repulsive hissing voice, and is subject to odd epileptic seizures. Once, after such a seizure in the professor&rsquos study by night, disquieting odours and evidences of unnatural presences are found and soon after that the professor leaves a bulky document and goes into the weird hills with feverish expectancy and strange terror in his heart. He never returns, but beside a fantastic stone in the wild country are found his watch, money, and ring, done up with catgut in a parchment bearing the same terrible characters as those on the black Babylonish seal and the rock in the Welsh mountains.
The bulky document explains enough to bring up the most hideous vistas. Professor Gregg, from the massed evidence presented by the Welsh disappearances, the rock inscription, the accounts of ancient geographers, and the black seal, has decided that a frightful race of dark primal beings of immemorial antiquity and wide former diffusion still dwells beneath the hills of unfrequented Wales. Further research has unriddled the message of the black seal, and proved that the idiot boy, a son of some father more terrible than mankind, is the heir of monstrous memories and possibilities. That strange night in the study the professor invoked &lsquothe awful transmutation of the hills&rsquo by the aid of the black seal, and aroused in the hybrid idiot the horrors of his shocking paternity. He &ldquosaw his body swell and become distended as a bladder, while the face blackened. . . .&rdquo And then the supreme effects of the invocation appeared, and Professor Gregg knew the stark frenzy of cosmic panic in its darkest form. He knew the abysmal gulfs of abnormality that he had opened, and went forth into the wild hills prepared and resigned. He would meet the unthinkable &lsquoLittle People&rsquo&mdashand his document ends with a rational observation: &ldquoIf I unhappily do not return from my journey, there is no need to conjure up here a picture of the awfulness of my fate.&rdquo
Also in The Three Impostors is the &ldquoNovel of the White Powder&rdquo, which approaches the absolute culmination of loathsome fright. Francis Leicester, a young law student nervously worn out by seclusion and overwork, has a prescription filled by an old apothecary none too careful about the state of his drugs. The substance, it later turns out, is an unusual salt which time and varying temperature have accidentally changed to something very strange and terrible nothing less, in short, than the mediaeval Vinum Sabbati, whose consumption at the horrible orgies of the Witches&rsquo Sabbath gave rise to shocking transformations and&mdashif injudiciously used&mdashto unutterable consequences. Innocently enough, the youth regularly imbibes the powder in a glass of water after meals and at first seems substantially benefited. Gradually, however, his improved spirits take the form of dissipation he is absent from home a great deal, and appears to have undergone a repellent psychological change. One day an odd livid spot appears on his right hand, and he afterward returns to his seclusion finally keeping himself shut within his room and admitting none of the household. The doctor calls for an interview, and departs in a palsy of horror, saying that he can do no more in that house. Two weeks later the patient&rsquos sister, walking outside, sees a monstrous thing at the sickroom window and servants report that food left at the locked door is no longer touched. Summons at the door bring only a sound of shuffling and a demand in a thick gurgling voice to be let alone. At last an awful happening is reported by a shuddering housemaid. The ceiling of the room below Leicester&rsquos is stained with a hideous black fluid, and a pool of viscid abomination has dripped to the bed beneath. Dr. Haberden, now persuaded to return to the house, breaks down the young man&rsquos door and strikes again and again with an iron bar at the blasphemous semi-living thing he finds there. It is &ldquoa dark and putrid mass, seething with corruption and hideous rottenness, neither liquid nor solid, but melting and changing&rdquo. Burning points like eyes shine out of its midst, and before it is despatched it tries to lift what might have been an arm. Soon afterward the physician, unable to endure the memory of what he has beheld, dies at sea while bound for a new life in America.
Mr. Machen returns to the daemoniac &ldquoLittle People&rdquo in &ldquoThe Red Hand&rdquo and &ldquoThe Shining Pyramid&rdquo and in The Terror, a wartime story, he treats with very potent mystery the effect of man&rsquos modern repudiation of spirituality on the beasts of the world, which are thus led to question his supremacy and to unite for his extermination. Of utmost delicacy, and passing from mere horror into true mysticism, is The Great Return, a story of the Graal, also a product of the war period. Too well known to need description here is the tale of &ldquoThe Bowmen&rdquo which, taken for authentic narration, gave rise to the widespread legend of the &ldquoAngels of Mons&rdquo&mdashghosts of the old English archers of Crécy and Agincourt who fought in 1914 beside the hard-pressed ranks of England&rsquos glorious &ldquoOld Contemptibles&rdquo.

Less intense than Mr. Machen in delineating the extremes of stark fear, yet infinitely more closely wedded to the idea of an unreal world constantly pressing upon ours, is the inspired and prolific Algernon Blackwood, amidst whose voluminous and uneven work may be found some of the finest spectral literature of this or any age. Of the quality of Mr. Blackwood&rsquos genius there can be no dispute for no one has even approached the skill, seriousness, and minute fidelity with which he records the overtones of strangeness in ordinary things and experiences, or the preternatural insight with which he builds up detail by detail the complete sensations and perceptions leading from reality into supernormal life or vision. Without notable command of the poetic witchery of mere words, he is the one absolute and unquestioned master of weird atmosphere and can evoke what amounts almost to a story from a simple fragment of humourless psychological description. Above all others he understands how fully some sensitive minds dwell forever on the borderland of dream, and how relatively slight is the distinction betwixt those images formed from actual objects and those excited by the play of the imagination.
Mr. Blackwood&rsquos lesser work is marred by several defects such as ethical didacticism, occasional insipid whimsicality, the flatness of benignant supernaturalism, and a too free use of the trade jargon of modern &ldquooccultism&rdquo. A fault of his more serious efforts is that diffuseness and long-windedness which results from an excessively elaborate attempt, under the handicap of a somewhat bald and journalistic style devoid of intrinsic magic, colour, and vitality, to visualise precise sensations and nuances of uncanny suggestion. But in spite of all this, the major products of Mr. Blackwood attain a genuinely classic level, and evoke as does nothing else in literature an awed and convinced sense of the immanence of strange spiritual spheres or entities.
The well-nigh endless array of Mr. Blackwood&rsquos fiction includes both novels and shorter tales, the latter sometimes independent and sometimes arrayed in series. Foremost of all must be reckoned &ldquoThe Willows&rdquo, in which the nameless presences on a desolate Danube island are horribly felt and recognised by a pair of idle voyagers. Here art and restraint in narrative reach their very highest development, and an impression of lasting poignancy is produced without a single strained passage or a single false note. Another amazingly potent though less artistically finished tale is &ldquoThe Wendigo&rdquo, where we are confronted by horrible evidences of a vast forest daemon about which North Woods lumbermen whisper at evening. The manner in which certain footprints tell certain unbelievable things is really a marked triumph in craftsmanship. In &ldquoAn Episode in a Lodging House&rdquo we behold frightful presences summoned out of black space by a sorcerer, and &ldquoThe Listener&rdquo tells of the awful psychic residuum creeping about an old house where a leper died. In the volume titled Incredible Adventures occur some of the finest tales which the author has yet produced, leading the fancy to wild rites on nocturnal hills, to secret and terrible aspects lurking behind stolid scenes, and to unimaginable vaults of mystery below the sands and pyramids of Egypt all with a serious finesse and delicacy that convince where a cruder or lighter treatment would merely amuse. Some of these accounts are hardly stories at all, but rather studies in elusive impressions and half-remembered snatches of dream. Plot is everywhere negligible, and atmosphere reigns untrammelled.
John Silence&mdashPhysician Extraordinary is a book of five related tales, through which a single character runs his triumphant course. Marred only by traces of the popular and conventional detective-story atmosphere&mdashfor Dr. Silence is one of those benevolent geniuses who employ their remarkable powers to aid worthy fellow-men in difficulty&mdashthese narratives contain some of the author&rsquos best work, and produce an illusion at once emphatic and lasting. The opening tale, &ldquoA Psychical Invasion&rdquo, relates what befell a sensitive author in a house once the scene of dark deeds, and how a legion of fiends was exorcised. &ldquoAncient Sorceries&rdquo, perhaps the finest tale in the book, gives an almost hypnotically vivid account of an old French town where once the unholy Sabbath was kept by all the people in the form of cats. In &ldquoThe Nemesis of Fire&rdquo a hideous elemental is evoked by new-spilt blood, whilst &ldquoSecret Worship&rdquo tells of a German school where Satanism held sway, and where long afterward an evil aura remained. &ldquoThe Camp of the Dog&rdquo is a werewolf tale, but is weakened by moralisation and professional &ldquooccultism&rdquo.
Too subtle, perhaps, for definite classification as horror-tales, yet possibly more truly artistic in an absolute sense, are such delicate phantasies as Jimbo or The Centaur. Mr. Blackwood achieves in these novels a close and palpitant approach to the inmost substance of dream, and works enormous havock with the conventional barriers between reality and imagination.

Unexcelled in the sorcery of crystalline singing prose, and supreme in the creation of a gorgeous and languorous world of iridescently exotic vision, is Edward John Moreton Drax Plunkett, Eighteenth Baron Dunsany, whose tales and short plays form an almost unique element in our literature. Inventor of a new mythology and weaver of surprising folklore, Lord Dunsany stands dedicated to a strange world of fantastic beauty, and pledged to eternal warfare against the coarseness and ugliness of diurnal reality. His point of view is the most truly cosmic of any held in the literature of any period. As sensitive as Poe to dramatic values and the significance of isolated words and details, and far better equipped rhetorically through a simple lyric style based on the prose of the King James Bible, this author draws with tremendous effectiveness on nearly every body of myth and legend within the circle of European culture producing a composite or eclectic cycle of phantasy in which Eastern colour, Hellenic form, Teutonic sombreness, and Celtic wistfulness are so superbly blended that each sustains and supplements the rest without sacrifice of perfect congruity and homogeneity. In most cases Dunsany&rsquos lands are fabulous&mdash&ldquobeyond the East&rdquo, or &ldquoat the edge of the world&rdquo. His system of original personal and place names, with roots drawn from classical, Oriental, and other sources, is a marvel of versatile inventiveness and poetic discrimination as one may see from such specimens as &ldquoArgimēnēs&rdquo, &ldquoBethmoora&rdquo, &ldquoPoltarnees&rdquo, &ldquoCamorak&rdquo, &ldquoIlluriel&rdquo, or &ldquoSardathrion&rdquo.
Beauty rather than terror is the keynote of Dunsany&rsquos work. He loves the vivid green of jade and of copper domes, and the delicate flush of sunset on the ivory minarets of impossible dream-cities. Humour and irony, too, are often present to impart a gentle cynicism and modify what might otherwise possess a naive intensity. Nevertheless, as is inevitable in a master of triumphant unreality, there are occasional touches of cosmic fright which come well within the authentic tradition. Dunsany loves to hint slyly and adroitly of monstrous things and incredible dooms, as one hints in a fairy tale. In The Book of Wonder we read of Hlo-hlo, the gigantic spider-idol which does not always stay at home of what the Sphinx feared in the forest of Slith, the thief who jumps over the edge of the world after seeing a certain light lit and knowing who lit it of the anthropophagous Gibbelins, who inhabit an evil tower and guard a treasure of the Gnoles, who live in the forest and from whom it is not well to steal of the City of Never, and the eyes that watch in the Under Pits and of kindred things of darkness. A Dreamer&rsquos Tales tells of the mystery that sent forth all men from Bethmoora in the desert of the vast gate of Perdóndaris, that was carved from a single piece of ivory and of the voyage of poor old Bill, whose captain cursed the crew and paid calls on nasty-looking isles new-risen from the sea, with low thatched cottages having evil, obscure windows.
Many of Dunsany&rsquos short plays are replete with spectral fear. In The Gods of the Mountain seven beggars impersonate the seven green idols on a distant hill, and enjoy ease and honour in a city of worshippers until they hear that the real idols are missing from their wonted seats. A very ungainly sight in the dusk is reported to them&mdash&ldquorock should not walk in the evening&rdquo&mdashand at last, as they sit awaiting the arrival of a troop of dancers, they note that the approaching footsteps are heavier than those of good dancers ought to be. Then things ensue, and in the end the presumptuous blasphemers are turned to green jade statues by the very walking statues whose sanctity they outraged. But mere plot is the very least merit of this marvellously effective play. The incidents and developments are those of a supreme master, so that the whole forms one of the most important contributions of the present age not only to drama, but to literature in general. A Night at an Inn tells of four thieves who have stolen the emerald eye of Klesh, a monstrous Hindoo god. They lure to their room and succeed in slaying the three priestly avengers who are on their track, but in the night Klesh comes gropingly for his eye and having gained it and departed, calls each of the despoilers out into the darkness for an unnamed punishment. In The Laughter of the Gods there is a doomed city at the jungle&rsquos edge, and a ghostly lutanist heard only by those about to die (cf. Alice&rsquos spectral harpsichord in Hawthorne&rsquos House of the Seven Gables) whilst The Queen&rsquos Enemies retells the anecdote of Herodotus in which a vengeful princess invites her foes to a subterranean banquet and lets in the Nile to drown them.
But no amount of mere description can convey more than a fraction of Lord Dunsany&rsquos pervasive charm. His prismatic cities and unheard-of rites are touched with a sureness which only mastery can engender, and we thrill with a sense of actual participation in his secret mysteries. To the truly imaginative he is a talisman and a key unlocking rich storehouses of dream and fragmentary memory so that we may think of him not only as a poet, but as one who makes each reader a poet as well.

At the opposite pole of genius from Lord Dunsany, and gifted with an almost diabolic power of calling horror by gentle steps from the midst of prosaic daily life, is the scholarly Montague Rhodes James, Provost of Eton College, antiquary of note, and recognised authority on mediaeval manuscripts and cathedral history. Dr. James, long fond of telling spectral tales at Christmastide, has become by slow degrees a literary weird fictionist of the very first rank and has developed a distinctive style and method likely to serve as models for an enduring line of disciples.
The art of Dr. James is by no means haphazard, and in the preface to one of his collections he has formulated three very sound rules for macabre composition. A ghost story, he believes, should have a familiar setting in the modern period, in order to approach closely the reader&rsquos sphere of experience. Its spectral phenomena, moreover, should be malevolent rather than beneficent since fear is the emotion primarily to be excited. And finally, the technical patois of &ldquooccultism&rdquo or pseudo-science ought carefully to be avoided lest the charm of casual verisimilitude be smothered in unconvincing pedantry.
Dr. James, practicing what he preaches, approaches his themes in a light and often conversational way. Creating the illusion of every-day events, he introduces his abnormal phenomena cautiously and gradually relieved at every turn by touches of homely and prosaic detail, and sometimes spiced with a snatch or two of antiquarian scholarship. Conscious of the close relation between present weirdness and accumulated tradition, he generally provides remote historical antecedents for his incidents thus being able to utilise very aptly his exhaustive knowledge of the past, and his ready and convincing command of archaic diction and colouring. A favourite scene for a James tale is some centuried cathedral, which the author can describe with all the familiar minuteness of a specialist in that field.
Sly humorous vignettes and bits of life-like genre portraiture and characterisation are often to be found in Dr. James&rsquos narratives, and serve in his skilled hands to augment the general effect rather than to spoil it, as the same qualities would tend to do with a lesser craftsman. In inventing a new type of ghost, he has departed considerably from the conventional Gothic tradition for where the older stock ghosts were pale and stately, and apprehended chiefly through the sense of sight, the average James ghost is lean, dwarfish, and hairy&mdasha sluggish, hellish night-abomination midway betwixt beast and man&mdashand usually touched before it is seen. Sometimes the spectre is of still more eccentric composition a roll of flannel with spidery eyes, or an invisible entity which moulds itself in bedding and shews a face of crumpled linen. Dr. James has, it is clear, an intelligent and scientific knowledge of human nerves and feelings and knows just how to apportion statement, imagery, and subtle suggestions in order to secure the best results with his readers. He is an artist in incident and arrangement rather than in atmosphere, and reaches the emotions more often through the intellect than directly. This method, of course, with its occasional absences of sharp climax, has its drawbacks as well as its advantages and many will miss the thorough atmospheric tension which writers like Machen are careful to build up with words and scenes. But only a few of the tales are open to the charge of tameness. Generally the laconic unfolding of abnormal events in adroit order is amply sufficient to produce the desired effect of cumulative horror.
The short stories of Dr. James are contained in four small collections, entitled respectively Ghost-Stories of an Antiquary, More Ghost Stories of an Antiquary, A Thin Ghost and Others, and A Warning to the Curious. There is also a delightful juvenile phantasy, The Five Jars, which has its spectral adumbrations. Amidst this wealth of material it is hard to select a favourite or especially typical tale, though each reader will no doubt have such preferences as his temperament may determine.
&ldquoCount Magnus&rdquo is assuredly one of the best, forming as it does a veritable Golconda of suspense and suggestion. Mr. Wraxall is an English traveller of the middle nineteenth century, sojourning in Sweden to secure material for a book. Becoming interested in the ancient family of De la Gardie, near the village of Råbäck, he studies its records and finds particular fascination in the builder of the existing manor-house, one Count Magnus, of whom strange and terrible things are whispered. The Count, who flourished early in the seventeenth century, was a stern landlord, and famous for his severity toward poachers and delinquent tenants. His cruel punishments were bywords, and there were dark rumours of influences which even survived his interment in the great mausoleum he built near the church&mdashas in the case of the two peasants who hunted on his preserves one night a century after his death. There were hideous screams in the woods, and near the tomb of Count Magnus an unnatural laugh and the clang of a great door. Next morning the priest found the two men one a maniac, and the other dead, with the flesh of his face sucked from the bones.
Mr. Wraxall hears all these tales, and stumbles on more guarded references to a Black Pilgrimage once taken by the Count a pilgrimage to Chorazin in Palestine, one of the cities denounced by Our Lord in the Scriptures, and in which old priests say that Antichrist is to be born. No one dares to hint just what that Black Pilgrimage was, or what strange being or thing the Count brought back as a companion. Meanwhile Mr. Wraxall is increasingly anxious to explore the mausoleum of Count Magnus, and finally secures permission to do so, in the company of a deacon. He finds several monuments and three copper sarcophagi, one of which is the Count&rsquos. Round the edge of this latter are several bands of engraved scenes, including a singular and hideous delineation of a pursuit&mdashthe pursuit of a frantic man through a forest by a squat muffled figure with a devil-fish&rsquos tentacle, directed by a tall cloaked man on a neighbouring hillock. The sarcophagus has three massive steel padlocks, one of which is lying open on the floor, reminding the traveller of a metallic clash he heard the day before when passing the mausoleum and wishing idly that he might see Count Magnus.
His fascination augmented, and the key being accessible, Mr. Wraxall pays the mausoleum a second and solitary visit and finds another padlock unfastened. The next day, his last in Råbäck, he again goes alone to bid the long-dead Count farewell. Once more queerly impelled to utter a whimsical wish for a meeting with the buried nobleman, he now sees to his disquiet that only one of the padlocks remains on the great sarcophagus. Even as he looks, that last lock drops noisily to the floor, and there comes a sound as of creaking hinges. Then the monstrous lid appears very slowly to rise, and Mr. Wraxall flees in panic fear without refastening the door of the mausoleum.
During his return to England the traveller feels a curious uneasiness about his fellow-passengers on the canal-boat which he employs for the earlier stages. Cloaked figures make him nervous, and he has a sense of being watched and followed. Of twenty-eight persons whom he counts, only twenty-six appear at meals and the missing two are always a tall cloaked man and a shorter muffled figure. Completing his water travel at Harwich, Mr. Wraxall takes frankly to flight in a closed carriage, but sees two cloaked figures at a crossroad. Finally he lodges at a small house in a village and spends the time making frantic notes. On the second morning he is found dead, and during the inquest seven jurors faint at sight of the body. The house where he stayed is never again inhabited, and upon its demolition half a century later his manuscript is discovered in a forgotten cupboard.
In &ldquoThe Treasure of Abbot Thomas&rdquo a British antiquary unriddles a cipher on some Renaissance painted windows, and thereby discovers a centuried hoard of gold in a niche half way down a well in the courtyard of a German abbey. But the crafty depositor had set a guardian over that treasure, and something in the black well twines its arms around the searcher&rsquos neck in such a manner that the quest is abandoned, and a clergyman sent for. Each night after that the discoverer feels a stealthy presence and detects a horrible odour of mould outside the door of his hotel room, till finally the clergyman makes a daylight replacement of the stone at the mouth of the treasure-vault in the well&mdashout of which something had come in the dark to avenge the disturbing of old Abbot Thomas&rsquos gold. As he completes his work the cleric observes a curious toad-like carving on the ancient well-head, with the Latin motto &ldquoDepositum custodi&mdashkeep that which is committed to thee.&rdquo
Other notable James tales are &ldquoThe Stalls of Barchester Cathedral&rdquo, in which a grotesque carving comes curiously to life to avenge the secret and subtle murder of an old Dean by his ambitious successor &ldquo&lsquoOh, Whistle, and I&rsquoll Come to You, My Lad&rsquo&rdquo, which tells of the horror summoned by a strange metal whistle found in a mediaeval church ruin and &ldquoAn Episode of Cathedral History&rdquo, where the dismantling of a pulpit uncovers an archaic tomb whose lurking daemon spreads panic and pestilence. Dr. James, for all his light touch, evokes fright and hideousness in their most shocking forms and will certainly stand as one of the few really creative masters in his darksome province.

For those who relish speculation regarding the future, the tale of supernatural horror provides an interesting field. Combated by a mounting wave of plodding realism, cynical flippancy, and sophisticated disillusionment, it is yet encouraged by a parallel tide of growing mysticism, as developed both through the fatigued reaction of &ldquooccultists&rdquo and religious fundamentalists against materialistic discovery and through the stimulation of wonder and fancy by such enlarged vistas and broken barriers as modern science has given us with its intra-atomic chemistry, advancing astrophysics, doctrines of relativity, and probings into biology and human thought. At the present moment the favouring forces would appear to have somewhat of an advantage since there is unquestionably more cordiality shewn toward weird writings than when, thirty years ago, the best of Arthur Machen&rsquos work fell on the stony ground of the smart and cocksure &rsquonineties. Ambrose Bierce, almost unknown in his own time, has now reached something like general recognition.
Startling mutations, however, are not to be looked for in either direction. In any case an approximate balance of tendencies will continue to exist and while we may justly expect a further subtilisation of technique, we have no reason to think that the general position of the spectral in literature will be altered. It is a narrow though essential branch of human expression, and will chiefly appeal as always to a limited audience with keen special sensibilities. Whatever universal masterpiece of tomorrow may be wrought from phantasm or terror will owe its acceptance rather to a supreme workmanship than to a sympathetic theme. Yet who shall declare the dark theme a positive handicap? Radiant with beauty, the Cup of the Ptolemies was carven of onyx.


The Magick of H.P. Lovecraft

H.P. Lovecraft was an American writer principally known for his weird fiction, a British and American sub-genre of speculative narrative that he helped both characterize and, as a critic, define. In his tales, Lovecraft blended elements of fantasy, horror, and science fiction into a strikingly original, infectious, and highly influential narrative universe. Lovecraft’s weird fiction is characterized by a fascination with occult grimoires and forbidden knowledge a pantheon of bizarre extraterrestrial pseudo-gods who are essentially inimical to human life a nostalgic attachment to the history and landscape of New England and a heavily racialized concern with human degeneration and atavistic cults. In contrast to the implicit supernaturalism of ghost stories or the gothic tale, the metaphysical background of Lovecraft’s stories is a “cosmic indifferentism” rooted in the nihilistic and atheist materialism that Lovecraft professed at great length in his fascinating letters. This lifelong philosophical stance led Lovecraft to embrace the disillusioning powers of science, but also to pessimistically anticipate science’s ultimate evisceration of human cultural norms and comforts. His weird tales were imaginative diversions from this nihilism, but their horror reflected it as well. Lovecraft’s literary vision was also amplified by the vivid, often nightmarish, and intensely detailed dreams he experienced throughout his life. A crucial influence on his fiction, Lovecraft’s dreaming can be seen as a phantasmic supplement to the reductive naturalism of his intellectual outlook, lending his work an uncanny dynamism that helps explain its continued power to stimulate thought, imagination, and cultural creation.

Lovecraft was born in Providence, Rhode Island to a privileged and pedigreed New England family. For the rest of his life, he would remain under the spell of the manners, aesthetics, and class attitudes he associated with that heritage. Lovecraft’s father was committed to an insane asylum when the boy was less than three years old, most likely due to tertiary syphilis. Lovecraft grew up an only child in a household dominated by doting and indulgent women alongside the pampering, he began to experience recurrent nightmares peopled by terrifying “night-gaunts.” When his beloved maternal grandfather died in 1904, the family fell on hard times for the rest of Lovecraft’s life, with some exceptions, and partly due to his own hyper-sensitivity, he lived on the margins of poverty. Through a precocious intellect, Lovecraft dropped out of high school, falling into a period of intense social isolation that was relieved when he discovered the world of amateur journalism. In 1919, his psychologically unstable mother was also committed to an asylum. Shortly after her death two years later, Lovecraft met and eventually married Sonia Greene, an older Jewish woman and the only obvious love interest in Lovecraft’s rather asexual life. His relationship with Greene brought him to New York City for a few years but the marriage did not last long and Lovecraft returned to his beloved Providence, where he lived with his aunts. A teetotaler with a simple diet, he generally hewed to an ascetic existence, but he traveled some and maintained an extraordinarily voluminous and thoughtful correspondence with many friends and peers, including amateur journalists and weird fiction writers like Robert E. Howard, Clark Ashton Smith, and other members of the “Lovecraft circle.” He died of intestinal cancer in 1937 at the age of 46.

Publishing his fiction chiefly in Weird Tales, Lovecraft was not widely read during his life, and his archaisms and other stylistic mannerisms turned off some pulp fans just as they continue to challenge readers today. Drawing inspiration from earlier masters of the weird tale like Poe, Arthur Machen, Lord Dunsany, and William Hope Hodgson, Lovecraft wrote scores of striking short stories and novellas that, for all their inconsistency and even contradiction, are held together by an enigmatic intertextual web that includes the invented New England geography of “Arkham country” grimoire titles like the Pnakotic Manuscripts and the dread Necronomicon a cosmology of multiple dimensions and recurrent Dreamlands and a pantheon of barbarously-named beings like Cthulhu and Azathoth, who are generally known as the “Great Old Ones” or the “Outer Gods.” During his lifetime, Lovecraft encouraged members of his literary circle to contribute stories to what Lovecraft informally called, after one of his principle beings, his Yog-Sothery. Following Lovecraft’s death, August Derleth, who founded Arkham Horror largely to publish the work of his friend and mentor, coined the term “Cthulhu Mythos” to describe this shared fictional universe, which Derleth and others in the Circle continued to elaborate and extend. Over time, thousands of amateur and professional writers across the globe would come to do the same, as well as numerous filmmakers, illustrators, sculptors, game and toy designers, and comic-book artists. Lovecraft’s work has also spawned a thriving and appropriately arcane domain of Lovecraft scholarship, and has even been addressed by philosophers like Graham Harman and Gilles Deleuze. Arguably the most unusual response to Lovecraft’s work, however, has come from occultists, who have made his work perhaps the single most significant fictional inspiration for contemporary magical theory and practice, particularly within chaos magic and various left-hand and Thelemic currents.

Lovecraft’s Representation of the Occult

To illuminate Lovecraft’s fictional transformation of the occult, it is helpful to conceptually distinguish two streams of lore and practice of the Western magical arts. On the one hand, there is an elite stream of learned magic associated with literacy, arcane knowledge, and to some degree fraternal orders—an “esoteric” cultural orientation that includes medieval monks as well as, for example, Victorian Freemasons enthralled with Egyptian mysteries. On the other hand, there is the vast, amorphous, and often highly localized body of folklore, seasonal ritual, herbcraft, hexing, and healing techniques associated with rural life or communities with low degrees of social status and formal education. This “popular” magical culture has in many ways left scant traces in the historical record, which in turn has allowed scholars and occultists alike to invent sometimes highly speculative accounts of its characteristics—accounts that themselves sometimes become part of the occultist milieu.

Lovecraft’s most extended engagement with the Western esoteric stream occurs in his short novel The Case of Charles Dexter Ward, written in 1927 but not published until after his death. Relatively free of Yog-Sothery, the work also stands as Lovecraft’s most thorough treatment of his recurrent theme of ancestral possession, as well as a monument to the man’s love for the architecture and history of Providence. In the story, we learn of the young Charles Ward’s obsession with and eventual resurrection of his forefather Joseph Curwen, an 18th-century necromancer, alchemist and psychopathic murderer who discovered the art of using “essential Saltes” to re-animate dead shades. Though not as scholarly as many of Lovecraft’s heroes and villains, Curwen is a man of education and high status. At one point we are given a brief catalog of Curwen’s library, which includes books of occult and natural philosophy by Paracelsus, Van Helmont, Trithemius, and Robert Boyle, as well as classic esoteric texts like the Zohar and the Hermetica. Lovecraft’s regular inclusion of rare books, as well as the narrative device of a young researcher studying his or his locality’s past, helps set up his central concern with the ironic dialectics of forbidden knowledge. Charles Dexter Ward, for example, is killed by the object of his genealogical research. But perhaps the most succinct expression of this dialectic lies in the game play of Chaosium’s highly successful Call of Cthulhu RPG franchise: the more a character learns about the Mythos, the closer they come to going insane.

In his catalogs of grimoires, Lovecraft usually includes a copy of one of his most famous fictional inventions: the dreaded Necronomicon, a book by “the mad Arab Abdul Alhazred” concerning the lore and invocation of the Old Ones. By including the Necronomicon alongside esoteric books, Lovecraft helped heed his own admonition that, for a weird story to be effective, it must be devised “with all the care and verisimilitude of an actual hoax.” Some readers, then and now, believed that The Necronomicon was an actual text, and Lovecraft himself wrote a brief pseudo-history of the book, which we learn was translated into Greek by Theodorus Philetas, into Latin by Olaus Wurmius, and later into an unpublished, fragmentary English edition by the Renaissance mage John Dee. Despite his playful references to esoteric literature, however, Lovecraft did not have enough respect for the occult to become a scholar of it in the mid-1920s, with his Yog Sothery already underway, Lovecraft admitted that his knowledge of the history of magic was largely restricted to the Encyclopedia Britannica. That said, Lovecraft did recognize that learned magic is in part characterized by the intertextual web of referentiality that grows between largely inaccessible and cryptically entitled books, a web that itself can be imaginatively extended. Alongside the Necronomicon, whose name came to Lovecraft in a dream, Lovecraft’s Mythos stories include references to many other invented grimoires, like the Book of Eibon and De Veris Mysteriis, both of which, in a second-order instantiation of the intertextual web, were concocted by other writers in Lovecraft’s circle.

Alongside Lovecraft’s inventive engagement with the esoteric occultism, he also wrote obsessively about primitive or atavistic magical cults, often composed of rural, marginal or impoverished communities, in the West or abroad. One important scholarly source for this vision was Margaret Murray’s 1921 book The Witch-Cult in Europe, which also went on to play an important role in the establishment of modern Wicca. Controversially, Murray argued that beneath the violent ecclesiastical machinery of the European witch trials lay the remnants of an actual pre-Christian fertility religion. For Lovecraft, who grew up sixty-five miles from the home of the Salem witch trials, Murray’s vision of the ancient witch-cult—which included accusations of child sacrifice—gave him license to develop the theme of an archaic and savage magical religion that continues to persist in modern times. Inspired as well by the fiction of Arthur Machen, who linked witchcraft with the fairy lore of the “little people,” Lovecraft also associated the witch-cult with pre-Aryan or “Mongoloid” peoples, which he readily combined with his racist concerns with degeneracy and immigrant populations. Examples of such cults in his fiction include the mixed-blood voodoo sect in “Call of Cthulhu” and the Yezidi devil-worshippers in “The Horror at Red Hook,” a New York-inspired tale not usually classed with the Mythos.

Though Lovecraft separately re-imagined these two streams of elite and popular magic, he achieved his unique vision of the occult in part by promiscuously commingling them. In “The Dunwich Horror,” for example, Wilber Whateley and his isolated rural family are declared to be of degenerate stock, and practice strange rituals on the sinister Sentinel Hill, topped by an altar-like stone and featuring caches of ancient, possibly Indian bones. At the same time, Whateley needs to get the words of one his invocations exactly right, so he travels to Miskatonic University in order to compare their Latin edition of the Necronomicon to the fragmented Dee version he possesses. In Lovecraft’s world, learned magic unleashes atavistic and prehistoric powers rather than hierarchies of angels or devils as such, he is able to depict an ancient but vital left hand path that is free of Satanism or Christian demonology. On the other side of the coin, Lovecraft’s primitive cults, including the sort of exotic tribes that haunt the anthropological imaginary, are characterized by their ongoing relationship with the ultimate forces of the cosmos. Lovecraft first makes this ground-breaking move in his famous 1928 story “The Call of Cthulhu,” wherein Lovecraft reframes the primitive gods worshipped by voodou initiates and remote “Eskimo wizards” as extraterrestrial or inter-dimensional beings.

Later entering popular culture as Erich von Daniken’s “ancient astronaut” theory, Lovecraft’s atavistic science-fictional cosmology allowed his fictions to undermine the progressive Enlightenment view of religious history popularized by Tylor and Frazer while still upholding the scientific course of civilization. The savage mysteries that animate the most primitive human cults are no longer the result of ignorant and neurosis but instead encode actual truths about the cosmos, including powerful extraterrestrial entities and dimensions of reality—like Einsteinean space-time and the non-Euclidean geometry used to describe it—that early 20th century astrophysics is only beginning to understand. Lovecraft’s most explicit intertwining of the witch-cult and weird science occurs in the 1932 story “The Dreams of the Witch-House.” At first, the demonic characters that the folklorist Walter Gilman glimpses in his nightmares and in the oddly shaped corners of his room seem unusually traditional for Lovecraft: the evil witch crone Keziah Mason, her evident familiar spirit, and a “Black Man” who is possibly Lovecraft’s most unambiguously Satanic figure. But Gilman is also a student of quantum physics and non-Euclidian geometry, and his nightmares also seem to take place within an “indescribably angled” hyperspace. Within these seething abysses, Gilman regularly encounters a small polyhedron and a mass of “prolately spheroidal bubbles” that turn out in the end to be none other than Keziah and her familiar. Lovecraft is thus able to “save the appearances” of supernatural folklore by superimposing them onto an expansively naturalistic if no less disturbing cosmos.

The Occultist Reception of Lovecraft

From the time of Lovecraft’s death, his name and work was kept alive by August Derleth and other members of the Lovecraft circle. But a mass Lovecraft revival would have to wait until the 1960s, when his stories, along with work by his friends Robert E. Howard, Clark Ashton Smith and other weird fiction writers, starting appearing in affordable paperbacks designed to exploit the market for adult fantasy opened up by Tolkien’s The Lord of the Rings, as well as, arguably, the growing use of cannabis and LSD. Inevitably, the exotic aura of dark magic that suffuses Lovecraft and the best writers in his circle fed into the “occultic milieu” that characterized much countercultural spirituality. The first explicitly occult appropriation of Lovecraft’s fiction can be traced to the British magician Kenneth Grant, one of the most vivid and controversial figures to emerge from the Thelemic current begun by Aleister Crowley, and the renegade head of the New Isis Lodge and the Typhonian Ordo Templi Orientis. Writing for Man, Myth and Magic in 1970, and two years later in his book The Magical Revival, Grant argued that, through his remarkable dream life, Lovecraft was linked to actual traditions of ancient and contemporary magic in this view, The Necronomicon is a “real” book tucked away in the akashic records that Lovecraft’s waking mind was too hidebound and timid to accept. Grant was particularly keen on lining up curious similarities between names and other elements of Thelemic and Lovecraftian lore, like Yog-Sothoth and Crowley’s Sut-Thoth. In all this, Grant’s own degree of irony or diabolic playfulness is, as ever, hard to assess. Given his florid imagination and parsimonious use of scholarship, Grant’s texts—which include ruminations on Bela Lugosi—already scramble the borderlines between occult originality and fiction.

The year 1972 also saw the publication of Anton LaVey’s The Satanic Rituals, a companion text to the Church of Satan leader’s popular The Satanic Bible. The book includes two Lovecraftian rites written by LaVey’s deputy Michael Aquino, the “Ceremony of the Angles” and “The Call to Cthulhu.” In his introduction, Aquino legitimizes the occult appropriation of Lovecraft along much less supernaturalist lines than Grant, emphasizing instead Lovecraft’s own amoral philosophy and the subjective, archetypal, and possibly prophetic power of fantasy. This argument accorded with the language of “psychodrama” that LaVey himself offered as non-supernatural explanations for the transformative power of blasphemous ritual. As a pragmatic corollary to this constructionist view, Aquino developed a meaningless ritual language for his rituals, a “Yuggothic tongue” based on the alien speech Lovecraft provides in “The Dunwich Horror” and “The Whisperer in the Dark.” The efficacy of such guttural and semantically empty speech is also described by Grant in his discussion of the Cult of Barbarous Names.

Within the Church of Satan, LaVey founded an informal “Order of the Trapezoid” whose name was inspired in part by Lovecraft’s story “The Haunter of the Dark,” which features a “shining trapezohedron” used by an extinct cult called the Church of Starry Wisdom. The Order of the Trapezoid would later become the supreme executive body of Aquino’s Church of Set, where the Lovecraftian current was interpreted in part as a force of apocalyptic subjectivity. Other notable Lovecraftian orders over the decades have included the Lovecraftian Coven, founded by Michael Bertiaux, a practitioner of “Gnostic Voudon” Cincinatti’s Bate Cabal and The Esoteric Order of Dagon, a Thelema- and Typhonian-inspired sect founded by Steven Greenwood, who in the 1960s became magically identified with Lovecraft’s fictional hero Randolph Carter. Lovecraftian magic has also became an important, almost signal leitmotif for chaos magicians, whose “postmodern” (and largely left-hand) approach to the contingency of traditional occult systems is resonantly affirmed by the adaptation of a fictional and profoundly anti-humanist cosmology that has the additional feature of being concocted by a philosophical nihilist.

Having achieved an intertextual virtual reality, The Necronomicon eventually manifested in the physical world of publications as well. In 1980, Avon Books—who also published LaVey—released a version of Alhazred’s book by the pseudonymous “Simon.” Emerging from Herman Slater’s New York occult bookstore Magickal Childe, Simon’s text, which has never gone out of print, is a practical grimoire featuring a fictional frame and rituals that mash up Sumerian lore and European Goetic magic. Less popular was the Necronomicon published by George Hay, a hodge-podge that includes literary essays, fabricated translations of John Dee, and an introduction by Colin Wilson. The most faithfully Lovecraftian version of the Necronomicon was arguably written by Donald Tyson and published by Llewellyn in 2004. Tyson has since become a one-man font of Lovecraftiana, including spell books, a Tarot deck, and an intelligent literary biography that combines sober critical analysis with a Jungian and paranormal twist on Grant’s strategies of legitimization.

Regardless of such strategies, the occult appropriation of Lovecraft can be traced in part to the intertextual and metafictional dynamics of the texts themselves. The central theme that Lovecraft critic Donald Burleson identifies as “oneiric objectivism” is itself the central vehicle for occultist legitimization from this perspective, occultists impose a second-order level of objective dreaming to the textual circuit that Lovecraft himself established between his actual dreams and his fictional worlds. Occultists could certainly be accused of turning Lovecraft the writer into something he’s not and would moreover abhor. The irony, however, is that this supernaturalist overwriting of the author’s materialism is itself inscribed in Lovecraft’s fiction, which—unlike the detective fiction it occasionally resembles—usually encourages the reader to piece together the horrifying cosmic scenario long before the bookish and blinkered protagonists put the pieces together. In a larger sense, occultists might simply be seen as culture makers who have, like thousands of writers, accepted Lovecraft’s invitation to play the game of imaginatively co-creating the Mythos. In the occultist version of the game, however, players risk the element of verisimilitude that Lovecraft himself saw was a key element of the “hoax.” And like the empty networks of referentiality that undergird the substance of occult literature, such games may have a life of their own.

Burleson, Donald R. (1991) “On Lovecraft’s Themes: Touching the Glass,” in S.T. Joshi (ed.), An Epicure in the Terrible: A Centennial Anthology of Essays in Honor of H. P. Lovecraft, Fairleigh Dickinson University Press: Rutherford, New Jersey.

Davies, Owen (2010), Grimoires: A History of Magic Books, Oxford University Press: Oxford.

Davis, Erik (1995), “Calling Cthulhu: H.P. Lovecraft’s Magickal Realism,” Gnosis, no. 37, pp. 56-64.

Joshi, S.T. (1982), A Subtler Magick: the Writings and Philosophy of H.P. Lovecraft, Wildside Press: Gillette, New Jersey.

Joshi, S.T. (2001), A Dreamer & A Visionary: H. P. Lovecraft in His Time, Liverpool University Press: Liverpool.

Lachman, Gary (2001), Turn Off Your Mind: The Mystic Sixties and the Dark Side of the Age of Aquarius, Sidgwick & Jackson: London.

Price, Robert (1985), “H. P. Lovecraft and the Cthulhu Mythos,” Crypt of Cthulhu, no. 35, p. 9.


7 Obsessions That Influenced H. P. Lovecraft’s Work

Nearly 80 years after H. P. Lovecraft’s death, his influence over popular culture shows no signs of waning. In his own day, Lovecraft's influences included writers such as fantasist Lord Dunsany, English horror writer Arthur Machen, and his beloved Poe, but Lovecraft’s weird fiction was also shaped by his life events, personal interests, and multiple obsessions. In honor of his 126th birthday, here are just a few.

1. SPACE AND ASTRONOMY

Contrary to popular perception, Lovecraft was not really a reclusive shut-in as a grown man, enjoying instead a circle of close friends and travel around New England and beyond. During his teenage years, though, he was afflicted with mysterious ailments (which may have been psychological in nature), which often kept him at home and eventually forced him to drop out of school. Being a very precocious autodidact, Lovecraft used this reclusive period to school himself in a number of subjects and developed a keen interest in science, particularly astronomy. At the ripe age of nine, Lovecraft began publishing his own Scientific Gazette. Later, he self-published The Rhode Island Journal of Astronomy and began submitting astronomical articles to local publications. He received his first telescope at age 13, allowing him to indulge his love of stargazing.

Lovecraft’s fascination with the vast cosmos formed the backdrop to the particular brand of weird horror that he created, in which the reaches of space are populated with incomprehensible entities that, like the stars themselves, are foreign and indifferent to the concerns of men. This fascination is seen throughout Lovecraft’s work. In particular, The Color Out of Space, thought by many to be Lovecraft’s most sci-fi piece, features a meteorite with baffling qualities that falls from the sky and horribly alters the farmland on which it lands, as well as the farm’s inhabitants, while The Shadow Out of Time features two extraterrestrial species exploiting Earth for their own ends.

2. THE PAST

Lovecraft’s deep interest in the past formed a counterpoint to his fascination with space and astronomy. As a boy, Lovecraft read voluminously, becoming captivated by ancient Greek myth and history and developing a lifelong affinity for the Baroque era. A dedicated Anglophile (a leaning which was likely influenced by his mother Sarah Susan Phillips Lovecraft’s view of herself as a New England blueblood of English ancestry), Lovecraft was particularly entranced by 18th century England and the Revolutionary War era—though in his case he wished that the British had won. He also adopted 18th century spellings (his characters often offered to “shew” something of interest to one another), and once appeared in a local newspaper wearing a tricorne hat.

It is Lovecraft’s fascination with New England colonial history and Puritanism, though, that is reflected most in his tales, along with his love of colonial architecture. Richard Upton Pickman, the central character of Pickman’s Model (who is described as coming from “old Salem stock”) states of his Boston: “I can shew you houses that have stood two centuries and a half and more houses that have witnessed what would make a modern house crumble into powder.” Similarly, Keziah Mason of The Dreams in the Witch House is rumored to have been a Salem witch.

3. HIS OWN FAMILY’S PAST

Lovecraft’s father, Winfield Scott Lovecraft, was confined to a mental institution when he was quite young, forcing young Howard and his mother to live with his grandfather Whipple Van Buren Phillips at the family mansion in Providence. These were happy years for Lovecraft, but financial troubles put the Phillips’ fortunes in increasing jeopardy. Grandfather Whipple’s death in 1904 dealt a final blow, precipitating the sale of the estate and forcing Howard, his mother, and two aunts to move to a more modest home three blocks east of the mansion.

Lovecraft never got over the loss of his family estate, along with the associations of status and happiness tied up with it. He spent a lifetime pining for his family’s former life, and dragged such items as had been salvaged from the estate around with him for life. When he arrived in New York in 1924 to begin an ill-fated marriage to Sonia Greene and an unsuccessful two years of city life, the story goes that he was carting a trunkload of fine linens, china, and books from the Phillips estate, which he eventually crammed into a rundown bachelor pad at 169 Clinton Street in Brooklyn when his marriage began to crumble. Lovecraft’s story Cool Air reflects this reality: Its central character, Dr. Munoz, occupies similarly modest quarters crammed full of gentlemanly trappings. In fact, Lovecraft’s many gentleman scholar characters point to his idealization of upper crust life at the Phillips estate.

4. SEAFOOD

Lovecraft loved science and he loved history, but there were a litany of strange things he was averse to. Among them: seafood. He was coddled during his years living with his mother and aunts, who allowed him to follow his own sleep schedule and culinary inclinations. This may explain why Lovecraft maintained the palate of a five-year-old throughout his adult life, relishing sweets but rejecting more adult fare. His hatred of seafood was so strong, though, that it seems to defy explanation. On an occasion when a friend tried to take him out for a steamed clam dinner, Lovecraft (who rarely swore) reportedly declared, "While you are eating that God-damned stuff, I'll go across the street for a sandwich please excuse me."

Whatever the reason for Lovecraft’s extreme disdain for crab cakes, mackerel, and calamari, it proved fertile inspiration for many of his horrifying creations—from the fishy people in The Shadow Over Innsmouth to the now famous octopus-headed god, Cthulhu.

5. RELIGION AND THE OCCULT

Lovecraft’s stories are full of occultists of all stripes, from the Cthulhu worshippers in The Call of Cthulhu to the demonic devotees in The Horror at Red Hook to the authors of the dreaded Necronomicon. While some fans love debating whether Lovecraft was an occultist himself, the fact is, he wasn’t. While confessing to “pagan inclinations” as a child, Lovecraft was a staunch atheist and self-described materialist. It was his skepticism that led to him to collaborate with Harry Houdini, who prided himself on being a debunker of superstition (the publication of Lovecraft and Houdini’s collaboration The Cancer of Superstition was cut short by Houdini’s untimely death in 1926, though the manuscript was recently re-discovered).

Lovecraft was clearly deeply fascinated by the occult, despite his strident disavowal of it, but mainly because it served to deepen the sense of dread in his tales. Despite the color that occult settings provide to Lovecraft’s stories, magic is often revealed to be the product of some form of science that humanity does not understand. His concept of cosmicism rejects the comforts of religion, instead presenting a cold, indifferent cosmos, absent of God.

6. XENOPHOBIA

Lovecraft’s racism has been a difficult issue for many horror and fantasy fans. Xenophobia, of one kind or another, is at the root of many of the strange, alien, and vile beings that populate Lovecraft’s stories. His racism was at its most shrill during his ill-fated New York City years, and this is reflected in the “maze of hybrid squalor,” “dark foreign faces,” and “Persian devil-worshippers” depicted in The Horror at Red Hook, as well as the “yellow, squint-eyed people” swarming over the hellish scape at the end of He. But it is also evident in earlier tales, such as The Facts Concerning the Late Arthur Jermyn and His Family, where the revelation that Jermyn bred with a white ape goddess points to a horror of racial intermixing. Some critics have found racism in other stories, too—like the fish people of The Shadow Over Innsmouth, or more fishy people in The Doom That Came to Sarnath … or maybe he just really, really didn’t like fish?

Toward the end of Lovecraft’s life (he died in 1937 at age 46), he began to soften his views and to grow more accepting of people who were different from himself, but he never transformed into what we might call a progressive today. Many modern fans have found it difficult to square their respect for his genius with their distaste for his problematic views.

7. MADNESS

Characters in Lovecraft’s stories are always teetering on the brink of madness. Whether they begin a story having just escaped a mental institution (like the titular character in The Case of Charles Dexter Ward) or whether they go mad at the end (like the de la Poer scion in The Rats in the Walls), characters are always uncovering forbidden knowledge that will make them lose their marbles.

Lovecraft had his early brushes with madness, including the hospitalization of his father and general instability of his mother. It may be that he feared the same fate for himself, given that he was prone to psychosomatic illnesses and extremely vivid dreams in youth. If so, it certainly would explain his fierce adoption of materialism and atheism. However, Lovecraft also saw the cosmos as one in which man existed side-by-side with knowledge that, if comprehended, would send him over the brink. His most famous story, The Call of Cthulhu, begins with a paragraph that speaks to this worldview:

“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.”


Watch the video: How Lovecraft Pronounced Cthulhu and How We Know he Did - Sumerian Nerd- Pronunciation Pronounce (January 2022).