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’s short stories are also extremely vivid in their spectral intimations; The Green Wildebeest, a tale of African witchcraft, The Wind in the Portico, with its awakening of dead Britanno-Roman horrors, and Skule Skerry, with its touches of sub-arctic fright, being especially remarkable.
Clemence Housman, in the brief novelette The Werewolf, 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’s The Shadowy Thing summons up strange and terrible vistas. George Macdonald’s 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 dose 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’s and sorcery’s darkest ramifications; notably Seaton’s Aunt, in which there lowers a noxious background of malignant vampirism; The Tree, which tells of a frightful vegetable growth in the yard of a starving artist; Out of the Deep, 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 of his dread-haunted boyhood; A Recluse, which hints at what sent a chance guest flying from a house in the night; Mr. Kempe, which shows us a mad clerical hermit in quest of the human soul, dwelling in a frightful sea-cliff region beside an archaic abandoned chapel; and All-Hallows, a glimpse of dæmoniac 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 The Listeners 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 The Man Who Went Too Far breathes whisperingly of a house at the edge of a dark wood, and of Pan’s hoof-mark on the breast of a dead man. Mr. Benson’s volume, Visible and Invisible, contains several stories of singular power; notably Negotiam Perambulans, 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 The Horror-Horn, through which lopes a terrible half-human survival dwelling on unvisited Alpine peaks. The Face, 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 The Red Lodge with its slimy aqueous evil, He Cometh and He Passeth By, And He Shall Sing, The Cairn, Look Up There, Blind Man’s Buff, and that bit of lurking millennial horror, The Seventeenth Hole at Duncaster. Mention has been made of the weird work of H.G. Wells and A. Conan Doyle. The former, in The Ghost of Fear, 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 The Captain of the Pole-Star, a tale of arctic ghostliness, and Lot No. 249, 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 Mrs. Lunt 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 The Bad Lands, containing graduations of horror that strongly savor 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, The Death Mask. L. P. Hartley is notable for his incisive and extremely ghastly tale, A Visitor from Down Under, May Sinclair’s 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 thin 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’s 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 connection with regions or buildings.
In The Boats of the Glen Carrig (1907) we are shown 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) — perhaps the greatest of all Mr. Hodgson’s works — tells of a lonely and evilly regarded house in Ireland which forms a focus for hideous otherworld forces and sustains a siege by blasphemous hybrid anomalies from a hidden abyss below. The wanderings of the Narrator’s spirit through limitless light-years of cosmic space and Kalpas of eternity, and its witnessing of the solar system’s final destruction, constitute something almost unique in standard literature. And everywhere there is manifest the author’s 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.
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bsp; The Night Land (1912) is a long-extended (538 pp.) tale of the earth’s infinitely remote future-billions 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 Glen Carrig.
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 mental 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 — the prowlers of the black, man-forsaken, and unexplored world outside the pyramid — are suggested and partly described with ineffable potency; while the night-land landscape with its chasms and slopes and dying volcanism takes on an almost sentient terror beneath the author’s 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 — and 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 unrivaled 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’s 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 “infallible detective” type — the progeny of M. Dupin and Sherlock Holmes, and the close kin of Algernon Blackwood’s John Silence — moving through scenes and events badly marred by an atmosphere of professional “occultism.” 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 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 Childe Roland to the Dark Tower Came is instinct with hideous menace, or the novelist Joseph Conrad, who often wrote of the dark secrets within the sea, and of the dæmoniac 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 a hundred years have been recorded by a line of such faithful transcribers and translators as William Carleton, T. Crofton Croker, Lady Wilde — mother of Oscar Wilde — Douglas 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, “A.E.,” 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 specters and “the unholy creatures of the Raths” — all 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’Kane, 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 skillful 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 dose 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 visualization 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 “occultism,” 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 Chronicles of Clemendy, his refreshing essays, his vivid autobiographical volumes, his fresh and spirited translations, and above all his memorable epic of the sensitive æsthetic mind, The Hill of Dreams, in which the youthful hero responds to the magic of that ancient Welsh environment which is the author’s own, and lives a dream-life in the Roman city of Isca Silurum, now shrunk to the relic-strewn village of Caerleon-on-Usk. But the fact remains that his powerful horror-material of the nineties 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 — including 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, has well summarized this dreamer’s rich endowments and wizardry of expression in the sonnet On Reading Arthur Machen:
There 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;
T
he 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’d in splendor, sharp against the North,
The Roman eagles, and through 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.
Of Mr. Machen’s horror-tales the most famous is perhaps The Great God Pan (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’ 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 — by no mortal father — of 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.
Delphi Complete Works of H. P. Lovecraft (Illustrated) Page 227
