Life is so inconveniently9 complex nowadays, what with income taxes and other visitations of government, that it is hard for us to have the added risk of wraiths, but there's no escaping. Many persons of to-day are in the same mental state as one Mr. Boggs, told of in a magazine story, a rural gentleman who was agitated10 over spectral11 visitants. He had once talked at a séance with a speaker who claimed to be the spirit of his brother, Wesley Boggs, but who conversed12 only on blue suspenders, a subject not of vital interest to Wesley in the flesh. "Still," Mr. Boggs reflected, "I'm not so darn sure!" In answer to a suggestion regarding subliminal13 consciousness and dual14 personality as explanation of the strange things that come bolting into life, he said, "It's crawly any way you look at it. Ghosts inside you are as bad as ghosts outside you." There are others to-day who are "not so darn sure!"
One may conjecture15 divers16 reasons for this multitude of ghosts in late literature. Perhaps spooks are like small boys that rush to fires, unwilling17 to miss anything, and craving18 new sensations. And we mortals read about them to get vicarious thrills through the safe medium of fiction. The war made sensationalists of us all, and the drab everydayness of mortal life bores us. Man's imagination, always bigger than his environment, overleaps the barriers of time and space and claims all worlds as eminent19 domain20, so that literature, which he has the power to create, as he cannot create his material surroundings, possesses a dramatic intensity21, an epic22 sweep, unknown in actuality. In the last analysis, man is as great as his daydreams—or his nightmares!
Ghosts have always haunted literature, and doubtless always will. Specters seem never to wear out or to die, but renew their tissue both of person and of raiment, in marvelous fashion, so that their number increases with a Malthusian relentlessness23. We of to-day have the ghosts that haunted our ancestors, as well as our own modern revenants, and there's no earthly use trying to banish24 or exorcise them by such a simple thing as disbelief in them. Schopenhauer asserts that a belief in ghosts is born with man, that it is found in all ages and in all lands, and that no one is free from it. Since accounts vary, and our earliest antecedents were poor diarists, it is difficult to establish the apostolic succession of spooks in actual life, but in literature, the line reaches back as far as the primeval picture writing. A study of animism in primitive25 culture shows many interesting links between the past and the present in this matter. And anyhow, since man knows that whether or not he has seen a ghost, presently he'll be one, he's fascinated with the subject. And he creates ghosts, not merely in his own image, but according to his dreams of power.
The more man knows of natural laws, the keener he is about the supernatural. He may claim to have laid aside superstition26, but he isn't to be believed in that. Though he has discarded witchcraft27 and alchemy, it is only that he may have more time for psychical28 research; true, he no longer dabbles29 with ancient magic, but that is because the modern types, as the ouija board, entertain him more. He dearly loves to traffic with that other world of which he knows so little and concerning which he is so curious.
Perhaps the war, or possibly an increase in class consciousness, or unionization of spirits, or whatever, has greatly energized30 the ghost in our day and given him both ambition and strength to do more things than ever. Maybe "pep tablets" have been discovered on the other side as well! No longer is the ghost content to be seen and not heard, to slink around in shadowy corners as apologetically as poor relations. Wraiths now have a rambunctious31 vitality and self-assurance that are astonishing. Even the ghosts of folks dead so long they have forgotten about themselves are yawning, stretching their skeletons, and starting out to do a little haunting. Spooky creatures in such a wide diversity are abroad to-day that one is sometimes at a loss to know what to do "gin a body meet a body." Ghosts are entering all sorts of activities now, so that mortals had better look alive, else they'll be crowded out of their place in the shade. The dead are too much with us!
Modern ghosts are less simple and primitive than their ancestors, and are developing complexes of various kinds. They are more democratic than of old, and have more of a diversity of interests, so that mortals have scarcely the ghost of a chance with them. They employ all the agencies and mechanisms32 known to mortals, and have in addition their own methods of transit33 and communication. Whereas in the past a ghost had to stalk or glide34 to his haunts, now he limousines35 or airplanes, so that naturally he can get in more work than before. He uses the wireless36 to send his messages, and is expert in all manner of scientific lines.
In fact, his infernal efficiency and knowledge of science constitute the worst terror of the current specter. Who can combat a ghost that knows all about a chemical laboratory, that can add electricity to his other shocks, and can employ all mortal and immortal2 agencies as his own? Science itself is supernatural, as we see when we look at it properly.
Modern literature, especially the most recent, shows a revival37 of old types of ghosts, together with the innovations of the new. There are specters that take a real part in the plot complication, and those that merely cast threatening looks at the living, or at least, are content to speak a piece and depart. Some spirits are dumb, while others are highly elocutionary.
Ghosts vary in many respects. Some are like the pallid38 shades of the past, altogether unlike the living and with an unmistakable spectral form—or lack of it. They sweep like mist through the air, or flutter like dead leaves in the gale39—a gale always accompanying them as part of the stock furnishings. On the other hand, some revenants are so successfully made up that one doesn't believe them when they pridefully announce that they are wraiths. Some of them are, in fact, so alive that they don't themselves know they're dead. It's going to be a great shock to some of them one of these days to wake up and find out they're demised40!
Ghosts are more gregarious41 than in the past. Formerly42 a shade slunk off by himself, as if ashamed of his profession, as if aware of the lack of cordiality with which he would be received, knowing that mortals shunned43 and feared him, and chary44 even of associating with his fellow-shades. He wraithed all by himself. The specters of the past—save in scenes of the lower world,—were usually solitary45 creatures, driven to haunt mortals from very lonesomeness. Now we have a chance to study the mob psychology46 of ghosts, for they come in madding crowds whenever they like.
Ghosts at present are showing an active interest not only in public affairs, but in the arts as well. At least, we now have pictures and writing attributed to them. Perhaps annoyed by some of the inaccuracies published concerning them—for authors have in the past taken advantage of the belief that ghosts couldn't write back—they have recently developed itching47 pens. They use all manner of utensils48 for expression now. There's the magic typewriter that spooks for John Kendrick Bangs, the boardwalk that Patience Worth executes for Mrs. Curran, and innumerable other specters that commandeer fountain pens and pencils and brushes to give their versions of infinity49. There's a passion on the part of ghosts for being interviewed just now. At present book-reviewers, for instance, had better be careful, lest the wraiths take their own method of answering criticism. It isn't safe to speak or write with anything but respect of ghosts now. De mortuis nil50 nisi bonum, indeed! One should never make light of a shade.
Modern ghosts have a more pronounced personality than the specters of the past. They have more strength, of mind as well as of body, than the colorless revenants of earlier literature, and they produce a more vivid effect on the beholder51 and the reader. They know more surely what they wish to do, and they advance relentlessly52 and with economy of effort to the effecting of their purpose, whether it be of pure horror, of beauty, or pathos53 of humor. We have now many spirits in fiction that are pathetic without frightfulness54, many that move us with a sense of poetic55 beauty rather than of curdling56 horror, who touch the heart as well as the spine57 of the reader. And the humorous ghost is a distinctive58 shade of to-day, with his quips and pranks59 and haunting grin. Whatever a modern ghost wishes to do or to be, he is or does, with confidence and success.
The spirit of to-day is terrifyingly visible or invisible at will. The dreadful presence of a ghost that one cannot see is more unbearable60 than the specter that one can locate and attempt to escape from. The invisible haunting is represented in this volume by Fitz-James O'Brien's What Was It? one of the very best of the type, and one that has strongly influenced others. O'Brien's story preceded Guy de Maupassant's Le Horla by several years, and must surely have suggested to Maupassant as to Bierce, in his The Damned Thing, the power of evil that can be felt but not seen.
The wraith3 of the present carries with him more vital energy than his predecessors61, is more athletic62 in his struggles with the unlucky wights he visits, and can coerce63 mortals to do his will by the laying on of hands as well as by the look or word. He speaks with more emphasis and authority, as well as with more human naturalness, than the earlier ghosts. He has not only all the force he possessed64 in life, but in many instances has an access of power, which makes man a poor protagonist65 for him. Algernon Blackwood's spirits of evil, for example, have a more awful potentiality than any living person could have, and their will to harm has been increased immeasurably by the accident of death. If the facts bear out the fear that such is the case in life as in fiction, some of our social customs will be reversed. A man will strive by all means to keep his deadly enemy alive, lest death may endow him with tenfold power to hurt. Dark discarnate passions, disembodied hates, work evil where a simple ghost might be helpless and abashed66. Algernon Blackwood has command over the spirits of air and fire and wave, so that his pages thrill with beauty and terror. He has handled almost all known aspects of the supernatural, and from his many stories he has selected for this volume The Willows67 as the best example of his ghostly art.
Apparitions68 are more readily recognizable at present than in the past, for they carry into eternity69 all the disfigurements or physical peculiarities70 that the living bodies possessed—a fact discouraging to all persons not conspicuous71 for good looks. Freckles72 and warts73, long noses and missing limbs distinguish the ghosts and aid in crucial identification. The thrill of horror in Ambrose Bierce's story, The Middle Toe of the Right Foot, is intensified74 by the fact that the dead woman who comes back in revenge to haunt her murderer, has one toe lacking as in life. And in a recent story a surgeon whose desire to experiment has caused him needlessly to sacrifice a man's life on the operating table, is haunted to death by the dismembered arm. Fiction shows us various ghosts with half faces, and at least one notable spook that comes in half. Such ability, it will be granted, must necessarily increase the haunting power, for if a ghost may send a foot or an arm or a leg to harry75 one person, he can dispatch his back-bone or his liver or his heart to upset other human beings simultaneously76 in a sectional haunting at once economically efficient and terrifying.
The Beast with Five Fingers, for instance, has a loathsome77 horror that a complete skeleton or conventionally equipped wraith could not achieve. Who can doubt that a bodiless hand leaping around on its errands of evil has a menace that a complete six-foot frame could not duplicate? Yet, in Quiller-Couch's A Pair of Hands, what pathos and beauty in the thought of the child hands coming back to serve others in homely78 tasks! Surely no housewife in these helpless days would object to being haunted in such delicate fashion.
Ghosts of to-day have an originality79 that antique specters lacked. For instance, what story of the past has the awful thrill in Andreyev's Lazarus, that story of the man who came back from the grave, living, yet dead, with the horror of the unknown so manifest in his face that those who looked into his deep eyes met their doom80? Present-day writers skillfully combine various elements of awe81 with the supernatural, as madness with the ghostly, adding to the chill of fear which each concept gives. Wilbur Daniel Steele's The Woman at Seven Brothers is an instance of that method.
Poe's Ligeia, one of the best stories in any language, reveals the unrelenting will of the dead to effect its desire,—the dead wife triumphantly82 coming back to life through the second wife's body. Olivia Howard Dunbar's The Shell of Sense is another instance of jealousy83 reaching beyond the grave. The Messenger, one of Robert W. Chambers's early stories and an admirable example of the supernatural, has various thrills, with its river of blood, its death's head moth84, and the ancient but very active skull85 of the Black Priest who was shot as a traitor86 to his country, but lived on as an energetic and curseful ghost.
The Shadows on the Wall, by Mary E. Wilkins Freeman,—which one prominent librarian considers the best ghost story ever written,—is original in the method of its horrific manifestation87. Isn't it more devastating88 to one's sanity89 to see the shadow of a revenge ghost cast on the wall,—to know that a vindictive90 spirit is beside one but invisible—than to see the specter himself? Under such circumstances, the sight of a skeleton or a sheeted phantom91 would be downright comforting.
The Mass of Shadows, by Anatole France, is an example of the modern tendency to show phantoms92 in groups, as contrasted with the solitary habits of ancient specters. Here the spirits of those who had sinned for love could meet and celebrate mass together in one evening of the year.
The delicate beauty of many of the modern ghostly stories is apparent in The Haunted Orchard93, by Richard Le Gallienne, for this prose poem has an appeal of tenderness rather than of terror. And everybody who has had affection for a dog will appreciate the pathos of the little sketch94, by Myla J. Closser, At the Gate. The dog appears more frequently as a ghost than does any other animal, perhaps because man feels that he is nearer the human,—though the horse is as intelligent and as much beloved. There is an innate95 pathos about a dog somehow, that makes his appearance in ghostly form more credible96 and sympathetic, while the ghost of any other animal would tend to have a comic connotation. Other animals in fiction have power of magic—notably the cat—but they don't appear as spirits. But the dog is seen as a pathetic symbol of faithfulness, as a tragic97 sufferer, or as a terrible revenge ghost. Dogs may come singly or in groups—Edith Wharton has five of different sorts in Kerfol—or in packs, as in Eden Phillpotts's Another Little Heath Hound.
An illuminating98 instance of the power of fiction over human faith is furnished by the case of Arthur Machen's The Bowmen, included here. This story it is which started the whole tissue of legendry concerning supernatural aid given the allied99 armies during the war. This purely100 fictitious101 account of an angel army that saved the day at Mons was so vivid that its readers accepted it as truth and obstinately102 clung to that idea in the face of Mr. Machen's persistent103 and bewildered explanations that he had invented the whole thing. Editors wrote leading articles about it, ministers preached sermons on it, and the general public preferred to believe in the Mons angels rather than in Arthur Machen. Mr. Machen has shown himself an artist in the supernatural, one whom his generation has not been discerning enough to appreciate. Some of his material is painfully morbid104, but his pen is magic and his inkwell holds many dark secrets.
In this collection I have attempted to include specimens105 of a few of the distinctive types of modern ghosts, as well as to show the art of individual stories. Examples of the humorous ghosts are omitted here, as a number of them will be brought together in Humorous Ghost Stories, the companion volume to this. The ghost lover who reads these pages will think of others that he would like to see included—for I believe that readers are more passionately106 attached to their own favorite ghost tales than to any other form of literature. But critics will admit the manifest impossibility of bringing together in one volume all the famous examples of the art. Some of the well-known tales, particularly the older ones on which copyright has expired, have been reprinted so often as to be almost hackneyed, while others have been of necessity omitted because of the limitations of space.
D.S.
New York,
March, 1921.
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1
immortals
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| 不朽的人物( immortal的名词复数 )； 永生不朽者 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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wraith
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| n.幽灵；骨瘦如柴的人 | |
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wraiths
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| n.幽灵( wraith的名词复数 )；（传说中人在将死或死后不久的）显形阴魂 | |
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vitality
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| n.活力，生命力，效力 | |
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lodge
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| v.临时住宿，寄宿，寄存，容纳；n.传达室，小旅馆 | |
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wilderness
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| n.杳无人烟的一片陆地、水等，荒漠 | |
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census
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| n.(官方的)人口调查，人口普查 | |
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inconveniently
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| ad.不方便地 | |
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agitated
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| adj.被鼓动的，不安的 | |
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spectral
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| adj.幽灵的，鬼魂的 | |
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conversed
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| v.交谈，谈话( converse的过去式 ) | |
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subliminal
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| adj.下意识的，潜意识的；太弱或太快以至于难以觉察的 | |
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dual
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| adj.双的；二重的，二元的 | |
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conjecture
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| n./v.推测，猜测 | |
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divers
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| adj.不同的；种种的 | |
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unwilling
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| adj.不情愿的 | |
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craving
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| n.渴望,热望 | |
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eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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intensity
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| n.强烈，剧烈；强度；烈度 | |
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epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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relentlessness
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banish
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| vt.放逐，驱逐；消除，排除 | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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superstition
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| n.迷信，迷信行为 | |
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witchcraft
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| n.魔法，巫术 | |
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psychical
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| adj.有关特异功能现象的；有关特异功能官能的；灵魂的；心灵的 | |
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dabbles
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| v.涉猎( dabble的第三人称单数 )；涉足；浅尝；少量投资 | |
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energized
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| v.给予…精力，能量( energize的过去式和过去分词 )；使通电 | |
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rambunctious
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| adj.喧闹的；粗鲁的 | |
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mechanisms
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| n.机械( mechanism的名词复数 )；机械装置；[生物学] 机制；机械作用 | |
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transit
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| n.经过，运输；vt.穿越，旋转；vi.越过 | |
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glide
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| n./v.溜，滑行；(时间)消逝 | |
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limousines
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| n.豪华轿车( limousine的名词复数 )；（往返机场接送旅客的）中型客车，小型公共汽车 | |
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wireless
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| adj.无线的；n.无线电 | |
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revival
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| n.复兴，复苏，（精力、活力等的）重振 | |
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pallid
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| adj.苍白的，呆板的 | |
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gale
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| n.大风，强风，一阵闹声（尤指笑声等） | |
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demised
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| v.遗赠（demise的过去式与过去分词形式） | |
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gregarious
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| adj.群居的，喜好群居的 | |
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formerly
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| adv.从前，以前 | |
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shunned
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| v.避开，回避，避免( shun的过去式和过去分词 ) | |
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chary
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| adj.谨慎的，细心的 | |
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solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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psychology
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| n.心理，心理学，心理状态 | |
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47
itching
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| adj.贪得的，痒的，渴望的v.发痒( itch的现在分词 ) | |
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utensils
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| 器具，用具，器皿( utensil的名词复数 )； 器物 | |
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infinity
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| n.无限，无穷，大量 | |
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nil
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| n.无，全无，零 | |
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51
beholder
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| n.观看者，旁观者 | |
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relentlessly
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| adv.不屈不挠地；残酷地；不间断 | |
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pathos
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| n.哀婉，悲怆 | |
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54
frightfulness
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| 可怕； 丑恶； 讨厌； 恐怖政策 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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curdling
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| n.凝化v.（使）凝结( curdle的现在分词 ) | |
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spine
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| n.脊柱，脊椎；(动植物的)刺；书脊 | |
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distinctive
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| adj.特别的，有特色的，与众不同的 | |
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pranks
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| n.玩笑，恶作剧( prank的名词复数 ) | |
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unbearable
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| adj.不能容忍的；忍受不住的 | |
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predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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athletic
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| adj.擅长运动的，强健的；活跃的，体格健壮的 | |
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coerce
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| v.强迫，压制 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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protagonist
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| n.(思想观念的)倡导者；主角，主人公 | |
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abashed
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| adj.窘迫的，尴尬的v.使羞愧，使局促，使窘迫( abash的过去式和过去分词 ) | |
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willows
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| n.柳树( willow的名词复数 )；柳木 | |
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apparitions
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| n.特异景象( apparition的名词复数 )；幽灵；鬼；（特异景象等的）出现 | |
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eternity
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| n.不朽，来世；永恒，无穷 | |
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peculiarities
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| n. 特质, 特性, 怪癖, 古怪 | |
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conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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freckles
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| n.雀斑，斑点( freckle的名词复数 ) | |
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warts
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| n.疣( wart的名词复数 )；肉赘；树瘤；缺点 | |
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intensified
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| v.（使）增强， （使）加剧( intensify的过去式和过去分词 ) | |
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harry
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| vt.掠夺，蹂躏，使苦恼 | |
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simultaneously
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| adv.同时发生地，同时进行地 | |
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loathsome
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| adj.讨厌的，令人厌恶的 | |
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homely
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| adj.家常的，简朴的；不漂亮的 | |
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originality
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| n.创造力，独创性；新颖 | |
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doom
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| n.厄运，劫数；v.注定，命定 | |
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awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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triumphantly
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| ad.得意洋洋地；得胜地；成功地 | |
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jealousy
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| n.妒忌，嫉妒，猜忌 | |
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moth
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| n.蛾，蛀虫 | |
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skull
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| n.头骨；颅骨 | |
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traitor
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| n.叛徒，卖国贼 | |
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manifestation
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| n.表现形式；表明；现象 | |
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devastating
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| adj.毁灭性的，令人震惊的，强有力的 | |
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sanity
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| n.心智健全，神智正常，判断正确 | |
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vindictive
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| adj.有报仇心的，怀恨的，惩罚的 | |
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phantom
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| n.幻影，虚位，幽灵；adj.错觉的，幻影的，幽灵的 | |
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phantoms
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| n.鬼怪，幽灵( phantom的名词复数 ) | |
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orchard
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| n.果园，果园里的全部果树，(美俚)棒球场 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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innate
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| adj.天生的，固有的，天赋的 | |
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credible
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| adj.可信任的，可靠的 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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illuminating
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| a.富于启发性的，有助阐明的 | |
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allied
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| adj.协约国的；同盟国的 | |
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purely
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| adv.纯粹地，完全地 | |
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fictitious
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| adj.虚构的，假设的；空头的 | |
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obstinately
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| ad.固执地，顽固地 | |
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persistent
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| adj.坚持不懈的，执意的；持续的 | |
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morbid
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| adj.病的；致病的；病态的；可怕的 | |
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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passionately
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| ad.热烈地，激烈地 | |
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