by M. R. James
Stephen Gaselee, “Montague Rhodes James: 1862-1936,” Proceedings of the British Academy 22 (1936): 418-33 (a touching memoir by one who had known James for thirty-five years).
Linda J. Holland-Toll, “From Haunted Gardens to Lurking Wendigos: Liminal and Wild Places in M. R. James and Algernon Blackwood,” Studies in Weird Fiction No. 25 (Summer 2001): 12-17 (a penetrating study of the “bad place” archetype in James and Blackwood).
Shane Leslie, “Montague Rhodes James,” Quarterly Review 304 (January 1966): 45-56 (a warm but somewhat haphazard memoir, focusing on James’s scholarly work).
Simon MacCulloch, “The Toad in the Study: M. R. James, H. P. Lovecraft and Forbidden Knowledge,” Ghosts & Scholars No. 20 (1995): 38-43; No. 21 (1996): 37-42: No. 22 (1996): 40-46; No. 23 (1997): 54-60. Rpt. in Studies in Weird Fiction No. 20 (Winter 1997): 2-12; No. 21 (Summer 1997): 17-28 (a wide-ranging and closely argued discussion of the theme of “forbidden knowledge” in James and Lovecraft; perhaps the best single article on James).
Michael A. Mason, “On Not Letting Them Lie: Moral Significance in the Ghost Stories of M. R. James,” Studies in Short Fiction 19 (1982): 253-60 (on the moral overtones of James’s protagonists and ghosts).
Robert Michalski, “The Malice of Inanimate Objects: Exchange in M. R. James’s Ghost Stories,” Extrapolation 37 (Spring 1996): 46-62 (a strained and implausible sociological interpretation of James’s tales).
Samuel D. Russell, “Irony and Horror: The Art of M. R. James,” Haunted No. 2 (December 1964): 43-52; No. 3 (June 1968): 96- 106 (rpt. in PT 609-30) (a sound general overview of James’s ghost stories).
Norman Scarfe, “The Strangeness Present: M. R. James’s Suffolk,” Country Life No. 4655 (6 November 1986): 1416-19 (a discussion of the use of Suffolk topography in James’s tales).
Jacqueline Simpson, “‘The Rules of Folklore’ in the Ghost Stories of M. R. James,” Folklore 108 (1997): 9-18 (an exhaustive study of the use of folklore in James’s work).
Devendra P. Varma, “The Ghost Stories of M. R. James: Artistic Exponent of the Victorian Macabre,” Indian Journal of English Studies NS 4 (1983): 73-81 (a sensitive essay on James’s technique of writing ghost stories).
Ron Weighell, “Dark Devotions: M. R. James and the Magical Tradition,” Ghosts & Scholars No. 6 (1984): 20-30 (profound study of James’s use of magic and occultism).
Other articles on specific stories are cited in the notes.
A Note on the Text
The texts of the fifteen stories by James in the body of this book are taken from The Collected Ghost Stories of M. R. James (1931), which appear to represent James’s final wishes for these tales. In the Appendix, the prefaces to his first two ghost story collections are taken from those volumes; “Ghost Stories” is taken from the reprint in the Ghosts & Scholars M. R. James Newsletter No. 3 (January 2003); “A Night in King’s College Chapel” is taken from its first appearance in Ghosts & Scholars No. 7 (1985).
I trust that my introduction and commentary testify sufficiently to my indebtedness to the work of some of the leading James scholars, including Richard William Pfaff, Michael Cox, Rosemary Pardoe, and several others. I am particularly grateful to Henrik Harksen for assistance in writing some of the notes, and to Keith B. Johnston and Stefan Dziemianowicz for supplying some necessary source materials.
CANON ALBERIC’S SCRAP-BOOK
St. Bertrand de Comminges is a decayed town on the spurs of the Pyrenees, not very far from Toulouse, and still nearer to Bagnères-de-Luchon.1 It was the site of a bishopric until the Revolution, and has a cathedral which is visited by a certain number of tourists. In the spring of 1883 an Englishman arrived at this old-world place—I can hardly dignify it with the name of city, for there are not a thousand inhabitants. He was a Cambridge man, who had come specially from Toulouse to see St. Bertrand’s Church,2 and had left two friends, who were less keen archæologists than himself, in their hotel at Toulouse, under promise to join him on the following morning. Half an hour at the church would satisfy them, and all three could then pursue their journey in the direction of Auch. But our Englishman had come early on the day in question, and proposed to himself to fill a notebook and to use several dozens of plates in the process of describing and photographing every corner of the wonderful church that dominates the little hill of Comminges. In order to carry out this design satisfactorily, it was necessary to monopolize the verger of the church for the day. The verger or sacristan (I prefer the latter appellation, inaccurate as it may be)3 was accordingly sent for by the somewhat brusque lady who keeps the inn of the Chapeau Rouge; and when he came, the Englishman found him an unexpectedly interesting object of study. It was not in the personal appearance of the little, dry, wizened old man that the interest lay, for he was precisely like dozens of other church-guardians in France, but in a curious furtive, or rather hunted and oppressed, air which he had. He was perpetually half glancing behind him; the muscles of his back and shoulders seemed to be hunched in a continual nervous contraction, as if he were expecting every moment to find himself in the clutch of an enemy. The Englishman hardly knew whether to put him down as a man haunted by a fixed delusion, or as one oppressed by a guilty conscience, or as an unbearably henpecked husband. The probabilities, when reckoned up, certainly pointed to the last idea; but, still, the impression conveyed was that of a more formidable persecutor even than a termagant wife.
However, the Englishman (let us call him Dennistoun) was soon too deep in his notebook and too busy with his camera to give more than an occasional glance to the sacristan. Whenever he did look at him, he found him at no great distance, either huddling himself back against the wall or crouching in one of the gorgeous stalls. Dennistoun became rather fidgety after a time. Mingled suspicions that he was keeping the old man from his déjeuner, that he was regarded as likely to make away with St. Bertrand’s ivory crozier, or with the dusty stuffed crocodile that hangs over the font, began to torment him.
“Won’t you go home?” he said at last; “I’m quite well able to finish my notes alone; you can lock me in if you like. I shall want at least two hours more here, and it must be cold for you, isn’t it?”
“Good heavens!” said the little man, whom the suggestion seemed to throw into a state of unaccountable terror, “such a thing cannot be thought of for a moment. Leave monsieur alone in the church? No, no; two hours, three hours, all will be the same to me. I have breakfasted, I am not at all cold, with many thanks to monsieur.”
“Very well, my little man,” quoth Dennistoun to himself: “you have been warned, and you must take the consequences.”
Before the expiration of the two hours, the stalls, the enormous dilapidated organ, the choir-screen of Bishop John de Mauléon,4 the remnants of glass and tapestry, and the objects in the treasure-chamber, had been well and truly examined; the sacristan still keeping at Dennistoun’s heels, and every now and then whipping round as if he had been stung, when one or other of the strange noises that trouble a large empty building fell on his ear. Curious noises they were sometimes.
“Once,” Dennistoun said to me, “I could have sworn I heard a thin metallic voice laughing high up in the tower. I darted an inquiring glance at my sacristan. He was white to the lips. ‘It is he—that is—it is no one; the door is locked,’ was all he said, and we looked at each other for a full minute.”
Another little incident puzzled Dennistoun a good deal. He was examining a large dark picture that hangs behind the altar, one of a series illustrating the miracles of St. Bertrand. The composition of the picture is wellnigh indecipherable, but there is a Latin legend below, which runs thus:
“Qualiter S. Bertrandus liberavit hominem quem diabolus diu volebat strangulare.” (How St. Bertrand delivered a man whom the Devil long sought to strangle.)
Dennistoun was turning to the sacristan with a smile and a jocular remark of some sort on his lips, but he was confounded to see the old man on his knees, gazing at the picture with the eye of a suppliant i
n agony, his hands tightly clasped, and a rain of tears on his cheeks. Dennistoun naturally pretended to have noticed nothing, but the question would not away from him, “Why should a daub of this kind affect anyone so strongly?” He seemed to himself to be getting some sort of clue to the reason of the strange look that had been puzzling him all the day: the man must be a monomaniac; but what was his monomania?
It was nearly five o’clock; the short day was drawing in, and the church began to fill with shadows, while the curious noises—the muffled footfalls and distant talking voices that had been perceptible all day—seemed, no doubt because of the fading light and the consequently quickened sense of hearing, to become more frequent and insistent.
The sacristan began for the first time to show signs of hurry and impatience. He heaved a sigh of relief when camera and notebook were finally packed up and stowed away, and hurriedly beckoned Dennistoun to the western door of the church, under the tower. It was time to ring the Angelus.5 A few pulls at the reluctant rope, and the great bell Bertrande, high in the tower, began to speak, and swung her voice up among the pines and down to the valleys, loud with mountain-streams, calling the dwellers on those lonely hills to remember and repeat the salutation of the angel to her whom he called Blessed among women. With that a profound quiet seemed to fall for the first time that day upon the little town, and Dennistoun and the sacristan went out of the church.
On the doorstep they fell into conversation.
“Monsieur seemed to interest himself in the old choir-books in the sacristy.”
“Undoubtedly. I was going to ask you if there were a library in the town.”
“No, monsieur; perhaps there used to be one belonging to the Chapter, but it is now such a small place——” Here came a strange pause of irresolution, as it seemed; then, with a sort of plunge, he went on: “But if monsieur is amateur des vieux livres,6 I have at home something that might interest him. It is not a hundred yards.”
At once all Dennistoun’s cherished dreams of finding priceless manuscripts in untrodden corners of France flashed up, to die down again the next moment. It was probably a stupid missal7 of Plantin’s printing, about 1580.8 Where was the likelihood that a place so near Toulouse would not have been ransacked long ago by collectors? However, it would be foolish not to go; he would reproach himself for ever after if he refused. So they set off. On the way the curious irresolution and sudden determination of the sacristan recurred to Dennistoun, and he wondered in a shamefaced way whether he was being decoyed into some purlieu to be made away with as a supposed rich Englishman. He contrived, therefore, to begin talking with his guide, and to drag in, in a rather clumsy fashion, the fact that he expected two friends to join him early the next morning. To his surprise, the announcement seemed to relieve the sacristan at once of some of the anxiety that oppressed him.
“That is well,” he said quite brightly—“that is very well. Monsieur will travel in company with his friends; they will be always near him. It is a good thing to travel thus in company—sometimes.”
The last word appeared to be added as an afterthought, and to bring with it a relapse into gloom for the poor little man.
They were soon at the house, which was one rather larger than its neighbours, stone-built, with a shield carved over the door, the shield of Alberic de Mauléon, a collateral descendant, Dennistoun tells me, of Bishop John de Mauléon. This Alberic was a Canon of Comminges from 1680 to 1701. The upper windows of the mansion were boarded up, and the whole place bore, as does the rest of Comminges, the aspect of decaying age.
Arrived on his doorstep, the sacristan paused a moment.
“Perhaps,” he said, “perhaps, after all, monsieur has not the time?”
“Not at all—lots of time—nothing to do till to-morrow. Let us see what it is you have got.”
The door was opened at this point, and a face looked out, a face far younger than the sacristan’s, but bearing something of the same distressing look: only here it seemed to be the mark, not so much of fear for personal safety as of acute anxiety on behalf of another. Plainly, the owner of the face was the sacristan’s daughter; and, but for the expression I have described, she was a handsome girl enough. She brightened up considerably on seeing her father accompanied by an able-bodied stranger. A few remarks passed between father and daughter, of which Dennistoun only caught these words, said by the sacristan. “He was laughing in the church,” words which were answered only by a look of terror from the girl.
But in another minute they were in the sitting-room of the house, a small, high chamber with a stone floor, full of moving shadows cast by a wood-fire that flickered on a great hearth. Something of the character of an oratory was imparted to it by a tall crucifix, which reached almost to the ceiling on one side; the figure was painted of the natural colours, the cross was black. Under this stood a chest of some age and solidity, and when a lamp had been brought, and chairs set, the sacristan went to this chest, and produced therefrom, with growing excitement and nervousness, as Dennistoun thought, a large book, wrapped in a white cloth, on which cloth a cross was rudely embroidered in red thread. Even before the wrapping had been removed, Dennistoun began to be interested by the size and shape of the volume. “Too large for a missal,” he thought, “and not the shape of an antiphoner; perhaps it may be something good, after all.” The next moment the book was open, and Dennistoun felt that he had at last lit upon something better than good. Before him lay a large folio, bound, perhaps, late in the seventeenth century, with the arms of Canon Alberic de Mauléon stamped in gold on the sides. There may have been a hundred and fifty leaves of paper in the book, and on almost every one of them was fastened a leaf from an illuminated manuscript. Such a collection Dennistoun had hardly dreamed of in his wildest moments. Here were ten leaves from a copy of Genesis, illustrated with pictures, which could not be later than A.D. 700. Further on was a complete set of pictures from a Psalter, of English execution, of the very finest kind that the thirteenth century could produce; and, perhaps best of all, there were twenty leaves of uncial writing in Latin, which, as a few words seen here and there told him at once, must belong to some very early unknown patristic treatise. Could it possibly be a fragment of the copy of Papias “On the Words of Our Lord,”9 which was known to have existed as late as the twelfth century at Nîmes?a In any case, his mind was made up; that book must return to Cambridge with him, even if he had to draw the whole of his balance from the bank and stay at St. Bertrand till the money came. He glanced up at the sacristan to see if his face yielded any hint that the book was for sale. The sacristan was pale, and his lips were working.
“If monsieur will turn on to the end,” he said.
So monsieur turned on, meeting new treasures at every rise of a leaf; and at the end of the book he came upon two sheets of paper, of much more recent date than anything he had yet seen, which puzzled him considerably. They must be contemporary, he decided, with the unprincipled Canon Alberic, who had doubtless plundered the Chapter library of St. Bertrand to form this priceless scrap-book. On the first of the paper sheets was a plan, carefully drawn and instantly recognizable by a person who knew the ground, of the south aisle and cloisters of St. Bertrand’s. There were curious signs looking like planetary symbols, and a few Hebrew words, in the corners; and in the north-west angle of the cloister was a cross drawn in gold paint. Below the plan were some lines of writing in Latin, which ran thus:
“Responsa 12mi Dec. 1694. Interrogatum est: Inveniamne? Responsum est: Invenies. Fiamne dives? Fies. Vivamne invidendus? Vives. Moriarne in lecto meo? Ita.” (Answers of the 12th of December, 1694. It was asked: Shall I find it? Answer: Thou shalt. Shall I become rich? Thou wilt. Shall I live an object of envy? Thou wilt. Shall I die in my bed? Thou wilt.)
“A good specimen of the treasure-hunter’s record—quite reminds one of Mr. Minor-Canon Quatremain in Old St. Paul’s,”10 was Dennistoun’s comment, and he turned the leaf.
What he then saw impressed him, as he has oft
en told me, more than he could have conceived any drawing or picture capable of impressing him. And, though the drawing he saw is no longer in existence, there is a photograph of it (which I possess) which fully bears out that statement. The picture in question was a sepia drawing at the end of the seventeenth century, representing, one would say at first sight, a Biblical scene;11 for the architecture (the picture represented an interior) and the figures had that semi-classical flavour about them which the artists of two hundred years ago thought appropriate to illustrations of the Bible. On the right was a King on his throne, the throne elevated on twelve steps, a canopy overhead, lions on either side—evidently King Solomon. He was bending forward with outstretched sceptre, in attitude of command; his face expressed horror and disgust, yet there was in it also the mark of imperious will and confident power. The left half of the picture was the strangest, however. The interest plainly centred there. On the pavement before the throne were grouped four soldiers, surrounding a crouching figure which must be described in a moment. A fifth soldier lay dead on the pavement, his neck distorted, and his eyeballs starting from his head. The four surrounding guards were looking at the King. In their faces the sentiment of horror was intensified; they seemed, in fact, only restrained from flight by their implicit trust in their master. All this terror was plainly excited by the being that crouched in their midst. I entirely despair of conveying by any words the impression which this figure makes upon anyone who looks at it. I recollect once showing the photograph of the drawing to a lecturer on morphology—a person of, I was going to say, abnormally sane and unimaginative habits of mind. He absolutely refused to be alone for the rest of that evening, and he told me afterwards that for many nights he had not dared to put out his light before going to sleep. However, the main traits of the figure I can at least indicate. At first you saw only a mass of coarse, matted black hair; presently it was seen that this covered a body of fearful thinness, almost a skeleton, but with the muscles standing out like wires. The hands were of a dusky pallor, covered, like the body, with long, coarse hairs, and hideously taloned. The eyes, touched in with a burning yellow, had intensely black pupils, and were fixed upon the throned King with a look of beast-like hate. Imagine one of the awful bird-catching spiders of South America translated into human form, and endowed with intelligence just less than human, and you will have some faint conception of the terror inspired by this appalling effigy. One remark is universally made by those to whom I have shown the picture: “It was drawn from the life.”
