Gaslit Horror
Page 15
As regards Anita, one can only suppose that she was possessed of some strange mesmeric or hypnotic power; but even if that were so, one is puzzled to understand how she was able to show her subjects the scene and incidents of that crime unless she herself knew them. The theory that suggests itself here is that during the three days’ interval between Signor Roderick consulting her and his second visit, she had learned the story of the crime from some of the wandering Indians. She herself was an Indian and would be regarded by her tribe as “a wise woman.” But whatever theory one likes to accept, it is a well-known fact attested over and over again by travellers that some of the Indian women of South America, especially in the neighbourhood of the Amazon, are gifted with the power of second sight and of forecasting the future. Such women are held in veneration by their own people, but Christians believe that they have an unholy alliance with the common enemy of mankind.
Lafcadio Hearn
Many authors at the turn of the century felt the pull of the Orient; however, precious few plunged into the Eastern cauldron with the fervour of Lafcadio Hearn (1850–1904), who spent the last years of his life as a Japanese citizen.
Hearn came from a tangled line of descent: born in Greece of a Greek mother and Irish father, he was raised in England and Ireland and ended up in America at the age of twenty.
He started work as a newspaper reporter, and by all accounts not a well-paid one, as he is widely described as having slept on the streets of New York for a while. He gained a fearsome reputation in America for digging up and writing the most lurid and repellent stories (something he continued to do when in Japan).
In 1890 he was sent to Japan on an assignment, fell in love with the country and stayed there for good. He delved into Japanese culture and literature, and wrote several books of stories and articles about the country and its folklore. Prominent among them are In Ghostly Japan (1899), A Japanese Miscellany (1901) and a really odd volume, Shadowings (1900).
When he died, Hearn had risen to become a lecturer in English literature at the Imperial University, Tokyo. His students must have found him an odd customer, especially if he spent his lessons musing on subjects like that of “Nightmare-Touch.” This essay, taken from Shadowings, deals with a little-considered but nonetheless very true aspect of the fear of ghosts.
Nightmare-Touch
I
What is the fear of ghosts among those who believe in ghosts?
All fear is the result of experience—experience of the individual or of the race—experience either of the present life or of lives forgotten. Even the fear of the unknown can have no other origin. And the fear of ghosts must be a product of past pain.
Probably the fear of ghosts, as well as the belief in them, had its beginning in dreams. It is a peculiar fear. No other fear is so intense; yet none is so vague. Feelings thus voluminous and dim are super-individual mostly—feelings inherited—feelings made within us by the experience of the dead.
What experience?
Nowhere do I remember reading a plain statement of the reason why ghosts are feared. Ask any ten intelligent persons of your acquaintance, who remember having once been afraid of ghosts, to tell you exactly why they were afraid—to define the fancy behind the fear—and I doubt whether even one will be able to answer the question. The literature of folklore—oral and written—throws no clear light upon the subject. We find, indeed, various legends of men torn asunder by phantoms; but such gross imaginings could not explain the peculiar quality of ghostly fear. It is not a fear of bodily violence. It is not even a reasoning fear—not a fear that can readily explain itself—which would not be the case if it were founded upon definite ideas of physical danger. Furthermore, although primitive ghosts may have been imagined as capable of tearing and devouring, the common idea of a ghost is certainly that of a being intangible and imponderable.1
Now I venture to state boldly that the common fear of ghosts is the fear of being touched by ghosts—or, in other words, that the imagined Supernatural is dreaded mainly because of its imagined power to touch. Only to touch, remember!—not to wound or to kill.
But this dread of the touch would itself be the result of experience—chiefly, I think of prenatal experience stored up in the individual by inheritance, like the child’s fear of darkness. And who can ever have had the sensation of being touched by ghosts? The answer is simple:—Everybody who has been seized by phantoms in a dream.
Elements of primeval fears—fears older than humanity—doubtless enter into the child-terror of darkness. But the more definite fears of ghosts may very possibly be composed with inherited results of dream-pain—ancestral experience of nightmare. And the intuitive terror of supernatural touch can thus be evolutionally explained.
Let me now try to illustrate my theory by relating some typical experiences.
II
When about five years old I was condemned to sleep by myself in a certain isolated room, thereafter always called the Child’s Room. (At that time I was scarcely ever mentioned by name, but only referred to as “the Child.”) The room was narrow, but very high, and, in spite of one tall window, very gloomy. It contained a fire-place wherein no fire was ever kindled; and the Child suspected that the chimney was haunted.
A law was made that no light should be left in the Child’s Room at night—simply because the Child was afraid of the dark. His fear of the dark was judged to be a mental disorder requiring severe treatment. But the treatment aggravated the disorder. Previously I had been accustomed to sleep in a well-lighted room, with a nurse to take care of me. I thought that I should die of fright when sentenced to lie alone in the dark, and—what seemed to me then abominably cruel—actually locked into my room, the most dismal room of the house. Night after night when I had been warmly tucked into bed, the lamp was removed; the key clicked in the lock; the protecting light and the footsteps of my guardian receded together. Then an agony of fear would come upon me. Something in the black air would seem to gather and grow—(I thought that I could even hear it grow)—till I had to scream. Screaming regularly brought punishment; but it also brought back the light, which more than consoled for the punishment. This fact being at last found out, orders were given to pay no further heed to the screams of the Child.
Why was I thus insanely afraid? Partly because the dark had always been peopled for me with shapes of terror. So far back as memory extended, I had suffered from ugly dreams; and when aroused from them I could always see the forms dreamed of, lurking in the shadows of the room. They would soon fade out; but for several moments they would appear like tangible realities. And they were always the same figures ... Sometimes, without any preface of dreams, I used to see them at twilight-time—following me about from room to room, or reaching long dim hands after me, from storey to storey, up through the interspaces of the deep stairways.
I had complained of these haunters only to be told that I must never speak of them, and that they did not exist. I had complained to everybody in the house; and everybody in the house had told me the very same thing. But there was the evidence of my eyes! The denial of that evidence I could explain only in two ways:—Either the shapes were afraid of big people, and showed themselves to me alone, because I was little and weak; or else the entire household had agreed, for some ghastly reason, to say what was not true. This latter theory seemed to me the more probable one, because I had several times perceived the shapes when I was not unattended;—and the consequent appearance of secrecy frightened me scarcely less than the visions did. Why was I forbidden to talk about what I saw, and even heard—on creaking stairways—behind waving curtains?
“Nothing will hurt you,”—this was the merciless answer to all my pleadings not to be left alone at night. But the haunters did hurt me. Only—they would wait until after I had fallen asleep, and so into their power—for they possessed occult means of preventing me from rising or moving or crying out.
Needless to comment upon the policy of locking me up alone with these fears in a
black room. Unutterably was I tormented in that room—for years! Therefore I felt relatively happy when sent away at last to a children’s boarding-school, where the haunters very seldom ventured to show themselves.
They were not like any people that I had ever known. They were shadowy dark-robed figures, capable of atrocious self-distortion—capable, for instance, of growing up to the ceiling, and then across it, and then lengthening themselves, head-downwards, along the opposite wall. Only their faces were distinct; and I tried not to look at their faces. I tried also in my dreams—or thought that I tried—to awaken myself from the sight of them by pulling at my eyelids with my fingers; but the eyelids would remain closed, as if sealed.... Many years afterwards, the frightful plates in Orfila’s Traité des Exhumés, beheld for the first time, recalled to me with a sickening start the dream-terrors of childhood. But to understand the Child’s experience, you must imagine Orfila’s drawings intensely alive, and continually elongating or distorting, as in some monstrous anamorphosis.
Nevertheless the mere sight of those nightmare-faces was not the worst of the experiences in the Child’s Room. The dreams always began with a suspicion, or sensation of something heavy in the air—slowly quenching will,—slowly numbing my power to move. At such times I usually found myself alone in a large unlighted apartment; and, almost simultaneously with the first sensation of fear, the atmosphere of the room would become suffused, half-way to the ceiling, with a sombre-yellowish glow, making objects dimly visible—though the ceiling itself remained pitch-black. This was not a true appearance of light: rather it seemed as if the black air were changing colour from beneath.... Certain terrible aspects of sunset, on the eve of storm, offer like effects of sinister colour. ... Forthwith I would try to escape—(feeling at every step a sensation as of wading)—and would sometimes succeed in struggling half-way across the room;—but there I would always find myself brought to a standstill—paralyzed by some innom-inable opposition. Happy voices I could hear in the next room—I could see light through the transom over the door that I had vainly endeavoured to reach—I knew that one loud cry would save me. But not even by the most frantic effort could I raise my voice above a whisper.... And all this signified only that the Nameless was coming—was nearing—was mounting the stairs. I could hear the step—booming like the sound of a muffled drum—and I wondered why nobody else heard it. A long, long time the haunter would take to come—malevolently pausing after each ghastly footfall. Then, without a creak, the bolted door would open—slowly, slowly—and the thing would enter, gibbering soundlessly—and put out hands—and clutch me—and toss me to the black ceiling—and catch me descending to toss me up again, and again, and again.... In those moments the feeling was not fear: fear itself had been torpified by the first seizure. It was a sensation that has no name in the language of the living. For every touch brought a shock of something infinitely worse than pain—something that thrilled into the innermost secret being of me—a sort of abominable electricity, discovering unimagined capacities of suffering in totally unfamiliar regions of sentiency. ... This was commonly the work of a single tormentor; but I can also remember having been caught by a group, and tossed from one to another—seemingly for a time of many minutes.
III
Whence the fancy of those shapes? I do not know. Possibly from some impression of fear in earliest infancy; possibly from some experience of fear in other lives than mine. That mystery is forever insoluble. But the mystery of the shock of the touch admits of a definite hypothesis.
First, allow me to observe that the experience of the sensation itself cannot be dismissed as “mere imagination.” Imagination means cerebral activity: its pains and its pleasures are alike inseparable from nervous operation, and their physical importance is sufficiently proved by their physiological effects. Dream-fear may kill as well as other fear; and no emotion thus powerful can be reasonably deemed undeserving of study.
One remarkable fact in the problem to be considered is that the sensation of seizure in dreams differs totally from all sensations familiar to ordinary walking life. Why this differentiation? How interpret the extraordinary massiveness and depth of the thrill?
I have already suggested that the dreamer’s fear is most probably not a reflection of relative experience, but represents the incalculable total of ancestral experience of dream-fear. If the sum of the experience of active life be transmitted by inheritance, so must likewise be transmitted the summed experience of the life of sleep. And in normal heredity either class of transmissions would probably remain distinct.
Now, granting this hypothesis, the sensation of dream-seizure would have had its beginnings in the earliest phases of dream-consciousness—long prior to the apparition of man. The first creatures capable of thought and fear must often have dreamed of being caught by their natural enemies. There could not have been much imagining of pain in these primal dreams. But higher nervous development in later forms of being would have been accompanied with larger susceptibility to dream-pain. Still later, with the growth of reasoning-power, ideas of the supernatural would have changed and intensified the character of dream-fear. Furthermore, through all the course of evolution, heredity would have been accumulating the experience of such feeling. Under those forms of imaginative pain evolved through reaction of religious beliefs, there would persist some dim survival of savage primitive fears, and again, under this, a dimmer but incomparably deeper substratum of ancient animal-terrors. In the dreams of the modern child all these latencies might quicken—one below another—unfathomably—with the coming and the growing of nightmare.
It may be doubted whether the phantasms of any particular nightmare have a history older than the brain in which they move. But the shock of the touch would seem to indicate some point of dream-contact with the total race-experience of shadowy seizure. It may be that profundities of Self—abysses never reached by any ray from the life of sun—are strangely stirred in slumber, and that out of their blackness immediately responds a shuddering of memory, measureless even by millions of years.
Robert W. Chambers
Like many of the writers in this book, Robert W. Chambers (1865–1933) stumbled on his writing talent by accident and made his living at it thereafter.
Born in New York, he trained to be an artist and went to Paris to study art in 1886, with his friend the portrait painter Charles Dana Gibson. He studied and exhibited in Paris for seven years, but, on his return to New York in 1893, found it hard to get decent work. He did some magazine illustrations but at the same time tried writing a book based on his Paris experiences. The book, In the Quarter (1894), was published, perhaps much to his surprise, and he followed it up with an even more successful work, The King in Yellow (1895).
Chambers is remembered by macabre fiction enthusiasts for that second book. It has been reprinted steadily over the years and remains one of the finest, if somewhat erratic in quality, works in this genre. One story in particular, “The Yellow Sign,” has been rightly included in many anthologies.
Sadly, Chambers only seldom returned to the macabre vein he had so richly mined in The King in Yellow. Throughout his writing career, which spanned forty years and encompassed over seventy books, he concentrated on detective and thriller novels, and society comedies and dramas. Just occasionally he wrote some more creepy stuff. There was a novel, The Slayer of Souls (1902) and some items in later books of short stories.
Happily, this one seems to have escaped reprinting since its original appearance. It comes from Chambers’ 1915 book Police!, a semi-humorous collection of fantasies, described by the author as “a few deathless truths concerning several mysteries recently and scientifically unravelled by a modest servant of science.” Perhaps fittingly, it deals with an artist, though the problems encountered by this poor painter would be enough to deter the entire Royal Academy.
Un Peu d’Amour
When I returned to the plateau from my investigation of the crater, I realized that I had descended the grassy
pit as far as any human being could descend. No living creature could pass that barrier of flame and vapour. Of that I was convinced.
Now, not only the crater but its steaming effluvia was utterly unlike anything I had ever before beheld. There was no trace of lava to be seen, or of pumice, ashes, or of volcanic rejecta in any form whatever. There were no sulphuric odours, no pungent fumes, nothing to teach the olfactory nerves what might be the nature of the silvery steam rising from the crater incessantly in a vast circle, ringing its circumference halfway down the slope.