FOOTNOTES
[1] The word ghostly is used here in its earlier sense signifying spiritual.
[2] In The Romance of the Castle.
[3] By T. J. Horsley-Curties.
[4] By Mrs. Dacre, better known as “Rosa Matilda.”
[5] Riders to the Sea.
[6] St. Oswyth.
[7] In Melmoth, the Wanderer and The Albigenses.
[8] “The History of Santon Barsis,” The Guardian, Number 148.
[9] In Gaston de Blondeville.
[10] In Bungay Castle.
[11] By Charles Lucas, Baltimore.
[12] By F. H. P.
[13] By T. J. Horsley-Curties.
[14] The Spirit of Turrettville.
[15] In Ariel, or the Invisible Monitor.
[16] The Spirit of the Castle.
[17] Ethelwina, or the House of Fitz-Auburne, by T. J. Horsley-Curties.
[18] The Wool-Gatherer.
[19] The Hunt of Eildon.
[20] In The Spirit of Turrettville.
[21] In Ariel.
[22] In The Monk.
[23] As in Vathek.
[24] The Last Laugh.
[25] In St. Irvyne.
[26] St. Irvyne or the Rosicrucian.
[27] In The Spirit of the Castle.
[28] In The Spirit of Turrettville.
[29] By W. C. Proby.
[30] In Melmoth.
[31] In his Beginnings of the English Romantic Movement, p. 108.
[32] Eliza Heywood’s romance, Lasselia: or, the Self-Abandoned, shows a similar portent, as Dr. George Frisbee Whicher notes in his The Life and Romances of Mrs. Eliza Heywood.
Professor Ashley H. Thorndike, in his Tragedy, in speaking of the plays of the Restoration dramatist John Banks (p. 273), says: “Even the portents are reduced to a peculiar decorum:—
“Last night no sooner was I laid to rest
Than just three drops of blood fell from my nose!”
These three drops of blood probably have a much more extended history in romance and the drama, which it would be interesting to trace out.
[33] Regina Maria Roche’s Clermont.
[34] A Sicilian Romance, by Mrs. Radcliffe.
[35] In Zofloya.
[36] In The English Novel, p. 228.
[37] In his introduction to his pocket volume of Tales of Mystery.
[38] The Influence of E. T. A. Hoffmann on Edgar Allan Poe.
[39] In the Doppelgänger, Kater Murr, and Elixiere des Teufels.
[40] In his Tale of the Ragged Mountains.
[41] In Die Jesuit-kirche in G.
[42] In The Oval Portrait.
[43] Compare Poe’s definition of his type as phantasy pieces with Hoffmann’s title Phantasie Stücke.
[44] Melmoth Réconcilié.
[45] In Khaled.
[46] For the Blood Is the Life.
[47] The Spider’s Eye, by Lucretia P. Hale.
[48] With Intent to Steal.
[49] The Flowering of the Strange Orchid.
[50] In The Transferred Ghost and The Spectral Mortgage.
[51] Père Antoine’s Date Palm.
[52] The Blue Bird.
[53] In The Vikings of Helgeland.
[54] In The Pretenders.
[55] In Brand.
[56] By J. H. Shorthouse.
[57] In The Sinner and The Saint.
[58] In The Woman.
[59] The Unburied.
[60] In The Daughter of Jorio.
[61] In Sogno d’un Mattino di Primavera.
[62] In Sogno d’un Tramonto d’Autunno.
[63] As in Phantoms.
[64] As in Clara Militch.
[65] In Sludge, the Medium.
[66] The Queen of Spades.
[67] Sleepyhead.
[68] Ward No. 6.
[69] In his Interpretations of Literature.
[70] The Shadows on the Wall.
[71] By H. G. Wells.
[72] By Brander Matthews.
[73] The Hill of Dreams.
[74] By Eden Phillpotts.
[75] By Charles Egbert Craddock.
[76] By F. H. Spearman.
[77] By the Waters of Paradise, by F. Marion Crawford.
[78] By Henry Van Dyke.
[79] As Dr. Blanche Williams points out in her discussion of the short story.
[80] By Olivia Howard Dunbar.
[81] They That Mourn.
[82] An Arrest.
[83] By Amelia B. Edwards.
[84] By Mary Wilkins Freeman.
[85] By J. H. Shorthouse.
[86] By Robert W. Chambers.
[87] By Georgia Wood Pangborn.
[88] In Ahrinziman, by Anita Silvani.
[89] The Screaming Skull.
[90] In A Notch on the Axe.
[91] In On the Stairs.
[92] By F. Converse.
[93] In Swept and Garnished.
[94] Phantom Rickshaw.
[95] By Laurence Clarke.
[96] What Was It? A Mystery, by Fitz-James O’Brien.
[97] By Katherine Butler.
[98] By Mary Wilkins Freeman.
[99] Two Voices.
[100] In Man Overboard.
[101] In John Inglesant.
[102] By W. W. Jacobs.
[103] In A Nemesis of Fire, by Blackwood.
[104] The Passing of Edward.
[105] El Magico Prodigioso.
[106] By Wilkie Collins.
[107] By F. Marion Crawford.
[108] The Mark of the Beast.
[109] As in Here and There, by Alice Brown.
[110] The Furnished Room.
[111] By Fred C. Smale.
[112] A Pair of Hands, by Quiller-Couch.
[113] In Our Last Walk, by Hugh Conway.
[114] By N. M. Lloyd.
[115] As in Ancient Sorceries.
[116] A Psychic Invasion.
[117] By M. H. Austin.
[118] In The Closed Cabinet.
[119] By A. T. Quiller-Couch.
[120] The Queen of Hearts.
[121] In Here and There.
[122] In They That Mourn.
[123] The Haunters and the Haunted.
[124] In Peele’s Old Wives Tales.
[125] In The Sociable Ghost.
[126] The Spectral Mortgage.
[127] In The Substitute.
[128] In A Haunted Island.
[129] In His Two Military Executions.
[130] The Empty House.
[131] Secret Worship.
[132] In A Psychic Invasion.
[133] In The Long Chamber.
[134] El Embozado.
[135] Lovers in Heaven.
[136] In Thurlow’s Christmas Story.
[137] In The Man from the Gods.
[138] In George William Curtis’s Prue and I.
[139] In her Duchess at Prayer.
[140] Other stories of double personality are The Ivory Gate, by Walter Besant; The Man with a Shadow, by George M. Fenn; The Jolly Corner, by Henry James; The Transferred Ghost, by Frank R. Stockton; On the Stairs, by Katherine Fullerton Gerould; Elixiere des Teufels, by E. T. A. Hoffmann; Howe’s Masquerade, by Hawthorne; The Recent Carnival of Crime in Connecticut, by Mark Twain; The Queen of Sheba, by Thomas Bailey Aldrich; The Doppelgänger, by Elizabeth Bisland Wetmore.
Georg Brandes, in his article, “Romantic Reduplication and Psychology,” in Main Currents of Nineteenth Century Literature, points out the prevalence of this motif in German fiction. He says: “It finds its first expression in Jean Paul’s Leibgeber Schappe, and is to be found in almost all of Hoffmann’s tales, reaching its climax in Die Elixiere des Teufels. It crops up in the writings of all the Romanticists, in Kleist’s Amphitryon, in Achim von Arnim’s Die Beiden Waldemar, in Chamisso’s Erscheinung. Brentano treats it comically in Die Mehreren Wehmüller.”
[141] In The Second Wife.
[142] In Mr. Eberdeen’s House.
[143] A Legend of Sharp.
[144] In Red Gauntlet.
[145] In The Monk or Zofloya.
[146] Daniel and the Devil.
[147] Countess Cathleen.
[148] In The Talisman.
[149] In his Septimius Felton.
[150] Of Scott’s Guy Mannering.
[151] In The Fisherman and his Soul.
[152] In his Forsaken Merman and The Neckan.
[153] In her lay of Bisclavret.
[154] By Arthur Applier and H. Sidney Warwick.
[155] The Wandering Jew, or Love’s Masquerade.
[156] The Curse of the Wandering Jew.
[157] By Robert Buchanan.
[158] In The Wandering Jew, or the Travels and Observations of Bareach the Prolonged.
[159] In the Track of the Wandering Jew.
[160] In The Plaint of the Wandering Jew.
[161] In Salathiel the Immortal, or Tarry Thou Till I Come.
[162] In Dr. Bullivant.
[163] In The Story of the Late Mr. Elvesham.
[164] In Myths and Legends of Our Land.
[165] In St. Germain the Deathless.
[166] In The Strange Adventures of Phra the Phœnician.
[167] In his Time Machine.
[168] The Transmigration of a Soul.
[169] In The Death of Halpin Frazer.
[170] A Soul on Fire.
[171] Other examples of the books that claim to be inspired by spirits are: An Angel Message, Being a Series of Angelic and Holy Communications Received by a Lady; Nyria, by Mrs. Campbell-Praed; Letters from a Living Dead Man, by Elsa Barker, and War Letters from a Living Dead Man; Stranger than Fiction, by Mary L. Lewis; The Soul of the Moor, by Stratford Jolly; Ida Lymond and Her Hour of Vision, by Hope Crawford; The Life Elysian; The Car of Phoebus; The Heretic; An Astral Bridegroom; Through the Mists, The Vagrom Spirit, and Leaves from the Autobiography of a Soul in Paradise, by Robert James Lee. This last-named gentleman seems to be in touch with spirits as rapid in composition as Robert W. Chambers.
[172] Plays of the Natural and the Supernatural.
[173] The Open Door.
[174] The Portrait.
[175] Old Lady Mary.
[176] The Little Pilgrim in the Unseen.
[177] The Land of Darkness.
[178] In In No Strange Land.
[179] In The Mother in Paradise.
[180] In Among the Immortals.
[181] In The Talisman.
[182] In My Aunt Margaret’s Mirror.
[183] In The Two Drovers.
[184] In Woodstock.
[185] In The Monastery.
[186] In The Betrothed.
[187] In Tess.
[188] Children of the Mist, The Witch, and others.
[189] In Primitive Culture, vol. i., page 273.
[190] In Ancient Legends and Superstitions of Ireland.
[191] In The Man Whom the Trees Loved.
[192] In The Heath Fire.
[193] In The Glamor of the Snow.
[194] In The Temptation of the Clay.
[195] The Mermaid.
[196] In The Sea Lady.
[197] In The Great Stone of Sardis.
[198] In A Story of Days to Come.
[199] In When the Sleeper Wakes.
[200] In The War of the Wenuses, by C. L. Graves and E. V. Lucas.
[201] In The First Men in the Moon.
[202] In The Star Rover.
[203] The Undiscovered Country.
[204] In The Doings of Raffles Haw.
[205] In The Man whom the Trees Loved.
[206] In The Spider’s Eye, by Lucretia P. Hale.
[207] In The Jewel of Seven Stars.
[208] In Dracula.
[209] In Laughing Gas.
[210] The Eighty-Third.
[211] Swept and Garnished.
[212] The Dead Are Singing, in the May, 1916, Texas Review.
[213] Suggested by some of the Proceedings of the Society for Psychical Research.
[214] In his Heaven.
[215] In Poe’s Metzengerstein.
[216] Swept and Garnished.
[217] In The Monstrance, another story of the war.
[218] In A Pair of Hands.
[219] The Passing of Edward.
[220] In Clairvoyance.
[221] The Blue Bird.
[222] The Ghost Moth.
[223] In Another Little Heath Hound.
[224] Silence.
[225] The Mysterious Stranger.
[226] In A Night at an Inn.
[227] In The Case of Becky.
[228] The Disassociation of a Personality.
[229] The Servant in the House.
[230] The Passing of the Third Floor Back.
[231] In The Witching Hour.
[232] In The Unwritten Law.
[233] The Faith Healer.
[234] Beyond Their Strength.
[235] The Miracle Man.
[236] The Spiritualist.
[237] Kingdom Come.
[238] As The Eternal Mystery, by George Jean Nathan, and The Rosary.
[239] Peter Pan.
[240] The Land of Heart’s Desire.
[241] The Blue Bird.
[242] The Mermaid.
[243] In The Last Laugh, by Paul Dickey and Charles W. Goddard.
[244] In Any House.
[245] In Sancta Susanna.
[246] In The Dead Are Singing.
[247] King-Hunger.
[248] The Second Coming.
[249] The Master Christian.
[250] “Religion in Recent American Novels,” in the January, 1914, Review and Expositor.
The footnotes have been renumbered and gathered at the end of this book. Some of the pagenumbers in the index are still of the page where a footnote was originally situated. An alphabetic jump table has been added to the index.
Errors in punctuation and spacing were corrected without note, also some missing pagenumbers en incorrectly used italics in the index. All occasions of “Dorian Grey” were changed to “Dorian Gray”, and all occasions of “Elixire des Teufels” or “Elixière des Teufels” changed to “Elixiere des Teufels”. Also the following corrections were made, on page
30 “Bisclaveret” changed to “Bisclavret” (Marie de France’s charming little lai, Le Bisclavret)
104 “Pangborne” changed to “Pangborn” (Georgia Wood Pangborn brings one out)
169 “replicaed” changed to “replicated” (a replicated mirage of a black monk)
171 “Dicken’s” changed to “Dickens’s” (those spoken of in Dickens’s Haunted House)
174 “CHAPTER” added for consistency (CHAPTER V)
214 “hyprocrisy” changed to “hypocrisy” (hypocrisy of a so-called saint)
221 “mmortal” changed to “immortal” (turns his back on immortal glory)
231 “Reineche” changed to “Reinecke” (the German Reinecke Fuchs)
297 “aweful” changed to “awful” for consistency (with a loathly effect more awful than)
300 “of” added (the woman of fifty-two)
311 “or” changed to “of” (Ancient Records of the Abbey)
317 “347” changed to “247” (Gnomes, 247)
319 “Magnetizeur” changed to “Magnetiseur” (—— Magnetiseur, 58)
326 “Tchekhov” changed to “Tchekhoff” for consistency
329 “340” changed to “240” (—— Land of Heart’s Desire, The, 56, 240, 306),
and in footnote
39 “Doppelganger” changed to “Doppelgänger” (In the Doppelgänger)
44 “Reconcilie” changed to “Réconcilié” (Melmoth Réconcilié)
87 “Panghorne” changed to “Pangborn” (By Georgia Wood Pangborn)
140 “Connecticutt” changed to “Connecticut” (The Recent Carnival of Crime in Connecticut)
140 “Amphitryton” changed to “Amphitryon” (in Kleist’s Amphitryon)
153 “Bisclaverat” changed to “Bisclavret” (In her lay of Bisclavret.)
171 “Straford” changed to “Stratford” (by Stratford Jolly).
If necessary, these same words were also corrected in the index.
Otherwise the original was preserved, including unusual, archaic or inconsistent spelling and hyphenation. The index was not checked for errors in alfabetisation or page numbers. The subtitle of Chapter III was formatted different from the others in the original, this has not been changed. Some of the lemma’s in the index appear to be identical, but they are probably meant to refer to different books with the same title.