Write us a letter, reader, and let us know what you think of this issue of TFF. What do you like in it, what would you rather not have, and what suggestions have you to offer? We appreciate your letters and have found many helpful hints in them in the past.
See you again next month.
SUPERNATURAL HORROR IN LITERATURE
by H. P. Lovecraft
Part Twelve
(Copyright 1927 by W. Paul Cook)
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 "The Tapestried Chamber" or "Wandering Willie's Tale" 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. "The German Student" 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 cosmic tissue of "The Money Diggers" 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 adventurers 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 "The Werewolf," 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 "The Signalman," 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 "psychic" 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.
"The House and the Brain," which hints of Rosicrucianism and at a malign and deathless figure perhaps suggested by Louis XV's 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 "Dweller of the Threshold" who haunts those who try to enter and fail. Here we have a benign brotherhood kept alive from ages to ages till finally reduced to a single member, and as a hero an ancient Chaldean sorceror 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 realization 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.