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 recognized authority on mediæval 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 modem period, in order to approach closely the reader’s 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 “occultism” 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 dose relation between present weirdness and accumulated tradition, he generally provides remote historical antecedents for his incidents; thus being able to utilize very aptly his exhaustive knowledge of the past, and his ready and convincing command of archaic diction and colouring. A favorite 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 lifelike genre portraiture and characterization are often to be found in Dr. James’s 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 — a sluggish, hellish night — abomination midway betwixt beast and man — and usually touched before it is seen. Sometimes the specter is of still more eccentric composition; a roll of flannel with spidery eyes, or an invisible entity which moulds itself in bedding and shows 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 favorite or especially typical tale, though each reader will no doubt have such preferences as his temperament may determine.
Count Magnus is assuredly one of the best, forming as it does a veritable Golconda of suspense and suggestion. Mr. Wraxall is an English traveler 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 Raback, 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 rumors of influences which even survived his interment in the great mausoleum he built near the church — as 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’s. Round the edge of this latter are several bands of engraved scenes, including a singular and hideous delineation of a pursuit — the pursuit of a frantic man through a forest by a squat muffled figure with a devil-fish’s tentacle, directed by a tall cloaked man on a neighboring hillock. The sarcophagus has three massive steel padlocks, one of which is lying open on the floor, reminding the traveler 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 Raback, 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 traveler 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 The Treasure of Abbot Thomas a British antiquary unriddles a cipher on some Renaissance painted windows, and thereby discovers a centuried hoard of gold in a niche halfway 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’s 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 odor 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 — out of which something had come in the dark to avenge the disturbing of old Ab
bot Thomas’s gold. As he completes his work the cleric observes a curious toad-like carving on the ancient well-head, with the Latin motto “Depositum custodi — keep that which is committed to thee.”
Other notable James tales are The Stalls of Barchester Cathedral, in which a grotesque carving comes curiously to life to avenge the secret and subtle murder of an old Dean by his ambitious successor: Oh, Whistle, and I’ll Come to You, which tells of the horror summoned by a strange metal whistle found in a mediævel church ruin; and An Episode of Cathedral History, 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 form, 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 “occultists” 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 favoring forces would appear to have somewhat of an advantage; since there is unquestionably more cordiality shown toward weird writings than when, thirty years ago, the best of Arthur Machen’s work fell on the stony ground of the smart and cocksure ‘nineties. 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 subtilization 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.
CATS AND DOGS
Written November 23, 1926 and first published in Leaves, Summer 1937
Being told of the cat-and-dog fight about to occur in your literary club, I cannot resist contributing a few Thomastic yowls and sibilants upon my side of the dispute, though conscious that the word of a venerable ex-member can scarcely have much weight against the brilliancy of such still active adherents as may bark upon the other side. Aware of my ineptitude at argument, a valued correspondent has supplied me with the records of a similar controversy in the New York Tribune, in which Mr. Carl van Doran is on my side and Mr. Albert Payson Terhune on that of the canine tribe. From this I would be glad to plagiarise such data as I need; but my friend, with genuinely Machiavellian subtlety, has furnished me with only a part of the feline section whilst submitting the doggish brief in full. No doubt he imagines that this arrangement, in view of my own emphatic bias, makes for something like ultimate fairness; but for me it is exceedingly inconvenient, since it will force me to be more or less original in several parts of the ensuing remarks.
Between dogs and cats my degree of choice is so great that it would never occur to me to compare the two. I have no active dislike for dogs, any more than I have for monkeys, human beings, tradesmen, cows, sheep, or pterodactyls; but for the cat I have entertained a particular respect and affection ever since the earliest days of my infancy. In its flawless grace and superior self-sufficiency I have seen a symbol of the perfect beauty and bland impersonality of the universe itself, objectively considered, and in its air of silent mystery there resides for me all the wonder and fascination of the unknown. The dog appeals to cheap and facile emotions; the cat to the deepest founts of imagination and cosmic perception in the human mind. It is no accident that the contemplative Egyptians, together with such later poetic spirits as Poe, Gautier, Baudelaire and Swinburne, were all sincere worshippers of the supple grimalkin.
Naturally, one’s preference in the matter of cats and dogs depends wholly upon one’s temperament and point of view. The dog would appear to me to be the favorite of superficial, sentimental, and emotional people — people who feel rather than think, who attach importance to mankind and the popular conventional emotions of the simple, and who find their greatest consolation in the fawning and dependent attachments of a gregarious society. Such people live in a limited world of imagination; accepting uncritically the values of common folklore, and always preferring to have their naive beliefs, feelings, and prejudices tickled, rather than to enjoy a purely aesthetic and philosophic pleasure arising from discrimination, contemplation, and the recognition of austere, absolute beauty. This is not to say that the cheaper elements do not also reside in the average cat-lover’s love of cats, but merely to point out that in ailurophily there exists a basis of true aestheticism which kynophily does not possess. The real lover of cats is one who demands a clearer adjustment to the universe than ordinary household platitudes provide; one who refuses to swallow the sentimental notion that all good people love dogs, children, and horses while all bad people dislike and are disliked by such. He is unwilling to set up himself and his cruder feelings as a measure of universal values, or to allow shallow ethical notions to warp his judgment. In a word, he had rather admire and respect than effuse and dote; and does not fall into the fallacy that pointless sociability and friendliness, or slavering devotion and obedience, constitute anything intrinsically admirable or exalted. Dog-lovers base their whole case on these commonplace, servile, and plebeian qualities, and amusingly judge the intelligence of a pet by its degree of conformity to their own wishes. Cat-lovers escape this delusion, repudiate the idea that cringing subservience and sidling companionship to man are supreme merits, and stand free to worship aristocratic independence, self-respect, and individual personality joined to extreme grace and beauty as typified by the cool, lithe, cynical and unconquered lord of the housetops.
Persons of commonplace ideas — unimaginative worthy burghers who are satisfied with the daily round of things and who subscribe to the popular credo of sentimental values — will always be dog-lovers. To them nothing will ever be more important than themselves and their own primitive feelings, and they will never cease to esteem and glorify the fellow-animal who best typifies these. Such persons are submerged in the vortex of Oriental idealism and abasement which ruined classic civilisation in the Dark Ages, and live in a bleak world of abstract sentimental values wherein the mawkish illusions of meekness, gentleness, brotherhood, and whining humility are magnified into supreme virtues, and a whole false ethic and philosophy erected on the timid reactions of the flexor system of muscles. This heritage, ironically foisted on us when Roman politics raised the faith of a whipped and broken people to supremacy in the later empire, has naturally kept a strong hold over the weak and sentimentally thoughtless; and perhaps reached its culmination in the insipid nineteenth century, when people were wont to praise dogs “because they are so human” (as if humanity were any valid standard of merit!), and honest Edwin Landseer painted hundreds of smug Fidoes and Carlos and Rovers with all the anthropoid triviality, pettiness, and “cuteness” of eminent Victorians.
But amidst this chaos of intellectual and emotional groveling a few free souls have always stood out for the old civilised realities which mediaevalism eclipsed — the stern classic loyalty to truth, strength, and beauty given a clear mind and uncowed spirit to the full-living Western Aryan confronted by Nature’s majesty, loveliness, and aloofness. This is the virile aesthetic and ethic of the extensor muscles — the bold, buoyant, assertive b
eliefs and preferences of proud, dominant, unbroken and unterrified conquerors, hunters, and warriors — and it has small use for the shams and whimperings of the brotherly, affection-slobbering peacemaker and cringer and sentimentalist. Beauty and sufficiency — twin qualities of the cosmos itself — are the gods of this unshackled and pagan type; to the worshipper of such eternal things the supreme virtue will not be found in lowliness, attachment, obedience, and emotional messiness. This sort of worshipper will look for that which best embodies the loveliness of the stars and the worlds and the forests and the seas and the sunsets, and which best acts out the blandness, lordliness, accuracy, self-sufficiency, cruelty, independence, and contemptuous and capricious impersonality of the all governing Nature. Beauty — coolness — aloofness — philosophic repose — self-sufficiency — untamed mastery — where else can we find these things incarnated with even half the perfection and completeness that mark their incarnation in the peerless and softly gliding cat, which performs its mysterious orbit with the relentless and obtrusive certainty of a planet in infinity?
Delphi Complete Works of H. P. Lovecraft (Illustrated) Page 229
