Page:The Recluse by W Paul Cook.djvu/54

 nineties”, and re-cast with more artistic restraint in the early twentieth century. This story, in final form, deserves a place among the foremost things of its kind. It tells of a creeping horror and menace trickling down the centuries on a sub-Arctic island off the coast of Norway; where, amidst the sweep of dæmon winds and the ceaseless din of hellish waves and cataracts, a vengeful dead man built a brazen tower of terror. It is vaguely like, yet infinitely unlike, Poe’s Fall Of The House of Usher.

Better known than Shiel is the ingenious Bram Stoker, who created many starkly horrific conceptions in a series of novels whose poor technique sadly impairs their net effect. The Lair Of The White Worm, dealing with a gigantic primitive entity that lurks in a vault beneath an ancient castle, utterly ruins a magnificent idea by a development almost infantile. The Jewel of Seven Stars, touching on a strange Egyptian resurrection, is less crudely written. But best of all is the famous Dracula, which has become almost the standard modern exploitation of the frightful vampire myth. Count Dracula, a vampire, dwells in a horrible castle in the Carpathians; but finally migrates to England with the design of populating the country with fellow vampires. How an Englishman fares within Dracula’s stronghold of terrors, and how the dead fiend’s plot for domination is at last defeated, are elements which unite to form a tale now justly assigned a permanent place in English letters. Dracula evoked many similar novels of supernatural horror, among which the best are perhaps The Beetle, by Richard Marsh, Brood Of The Witch-Queen, by “Sax Rohmer”, (Arthur Sarsfield Ward) and The Door Of The Unreal, by Gerald Biss. The latter handles quite dexterously the standard werewolf superstition. Much subtler and more artistic, and told with singular skill through the juxtaposed narratives of the several characters, is the recent novel Cold Harbour, by Francis Brett Young, in which an ancient house of strange malignancy is powerfully delineated. The mocking and well-nigh omnipotent fiend Humphrey Furnival holds echoes of the Manfred-Montoni type of early Gothic “villain”, but is redeemed from triteness by many clever individualities. Only the slight diffuseness of explanation at the close, and the somewhat too free use of divination as a plot factor, keep this tale from approaching absolute perfection.

ClarenceClemence [sic] Housman, in the brief novelette The Werewolf, attains a high degree of gruesome tension and achieves to some extent the atmosphere of authentic folklore.

Deserving of distinguished notice as a forceful craftsman to whom an unseen mystic world is ever a close 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 chamber of his dread-haunted boyhood; 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 mediæval 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.