Ghosts and Marvels

Volume 1
Where We Begin
Eye and Ear
Industry
From Town and City
Travellers Tales
What Celia Sees
Daniel Defoe 1660-1731
William Camden 1551-1623
The Mysteries Of London
The Life of a Coster Girl
Elegy Written in a Country Churchyard
Further Notes From The Midlands
Lichfield Miscellanies
Seven Strong Spires
Before Us Stands Yesterday
Albion Band 1998 - 1999
London Calling
Stuart Hibberd 1893 - 1983
John Logie Baird 1888 - 1946
Are You Sitting Comfortably?
Ghosts and Marvels
Casting the Runes
An Episode Of Cathedral History
The Tractate Middoth
More Ghosts and Marvels
Negotium Perambulans
Venus
Musicks
Dulce Et Decorum Est
War Requiem
Poems by Wilfred Owen
"They called it Passchendaele"
1914
Other Poets 1914 - 1918
C.S. Lewis: A Letter
C. S. Lewis 1898 - 1963
Joyce Grenfell 1919 - 1979
An Interview With Richard Thompson
BBC Radio 2 Folk Awards 2006
Horkstow Grange
The Radio Ballads
Two Songs Of England
A Band For England
Waterloo Sunset
Vashti Bunyan
Just Another Diamond Day
David Gilmour
On An Island
Live From An Island
Where We Start

a selection of Uncanny Tales from
Daniel Defoe to Algernon Blackwood

selected by V. H. Collins
World's Classics
Oxford University Press 1924

"Do I believe in ghosts? . . .
I am prepared to consider evidence and accept it if it satisfies me."

-- M. R. James

Two Introductions

Portrait of Montague Rhodes James taken in 1929

There are two collections of "spook" stories that go under the title of Ghosts and Marvels and More Ghosts and Marvels,  in both cases the selections were chosen by V.H Collins. We've included both collections, divided by three tales from the master of the ghost story, Montague Rhodes James, who also wrote the original introduction to Ghosts and Marvels, which we are also going to include here. Now, one has to be very careful about things like this. Introductions are all well and good, in their proper settings, but under certain circumstances one cannot be too careful.
 
"The reading of many ghost stories has shown me that the greatest successes have been scored by the authors who can make us envisage a definite time and place, and give us plenty of clear-cut and matter-of-fact detail, but who, when the climax is reached, allow us to be just a little in the dark . . ."
-- M. R. James
 
and so with that quote from The Master, we leave you in his very capable hands, walk carefully and whatever you do, don't pick up anything you may find on the road, most especially if the package contains hair or nail parings............ enough said!

Introduction
by M.R. James
 

At the outset of this preface I must make it quite clear that the choice of the stories which it introduces is not mine. I am glad that it is not, for I have been saved much trouble, and I am also free to comment (if I desire it) adversely; general remarks are expected first, and these are to me an obstacle not lightly got over.
Often I have been asked to formulate my views about ghost stories and tales of the marvellous, the mysterious, the supernatural. Never have I been able to find out whether I had any views that could be formulated. The truth is, I suspect, that the genre  is too small and special to bear the imposition of far-reaching principles. Widen the question, and ask what governs the construction of short stories in general, and a great deal might be said, and has been said. There are, of course, instances of whole novels in which the supernatural governs the plot ; but among them are few successes. The ghost story is, at its best, only a particular sort of short story, and is subject to the same broad rules as the whole mass of them. Those rules, I imagine, no writer ever consciously follows. Infact it is absurd to talk of them as rules ; they are qualities which have been observed to accompany success.

Some such qualities I have noted, and while I cannot undertake to write about broad prinicples, something more concrete is capable of being recorded. Well then : two ingredients most valuable in the concocting of a ghost story are, to me, the atmosphere and the nicely managed crescendo. I assume, of course that the writer will have got his central idea before he undertakes the story at all. Let us, then, be introduced to the actors in a placid way ; let us see them going about their ordinary business undisturbed by forbodings, pleased with their surroundings ; and into this calm environment let the ominous thing put out its head, unobtrusively at first, and then more insistently, until it holds the stage. It is not amiss sometimes to leave a loophole for a natural explanation ; but, I would say, let the loophole be so narrow as not to be practicable. Then, for the setting. The detective story cannot be too much up-to-date : the motor, the telephone, the aeroplane, the newest slang, are all in place there. For the ghost story a slight haze of distance is desirable. 'Thirty years ago', 'Not long before the war', are proper openings. If a really remote date be chosen, there is more than one way of bringing the reader in contact with it. The finding of documents about it can be made plausible ; or you may begin with your apparition and go back over the years to tell the cause of it ; or (as in Schalken the Painter) you may set the scene directly in the desired epoch, which I think is the hardest to do with success. On the whole (though not a few instances might be quoted against me0 I think that a setting so modern that the ordinary reader can judge of its naturalness for himself is preferable to anything antique. For some degree of actuality, is the charm of the best ghost stories ; not a very insistent actuality, but one strong enough to allow the reader to identify himself with the patient ; while it is almost inevitable that the reader of an antique story should fall into the position of the mere spectator.

These are personal impressions. Many other views are current, and have been justified in practice. This collection shows how various are the methods which have made their appeal to the public, for there is none of these tales that has not has its vogue. A few pedantic comments upon some of them may be allowed. The dates, which in particular, look pedantic, are really not without their use and meaning.
Defoe's 'Mrs. Veal' (1706), we are told by Sir Walter Scott, was a successful device for selling off an edition of Drelincourt on Death which threatened to be a drug in the market. There is no question but that Defoe was perfectly capable of writing such a narrative as this without anything to base it on. But in this case doubts have been expressed, not of the truth but of the untruth of this particular tale, and, though I cannot point to any investigation of it, I remember that Mr. Andrew Lang refers to 'Mrs. Veal' as being no imposture, but an attempt to record an occurrence believed to be real. Whether imagined or reported, it is an admirable piece of narrative

'Wandering Willie's Tale' (1824), that acknowledged masterpiece, has its roots, a many readers have been suspected by many readers, in old folk lore. Scottish parallels I cannot cite, but a Danish one is to be found in the story of Claus the coachman of Fru Ingeborg Skeel of Voergaard.
'Fru Ingeborg was Skeel's widow, and of Skeel it is told that some years before his death he got by wrongful means some fields from the village of Agersted. They are still called Agersted fields and still belong to Voergaard. Now Skeel had been hard enough on the peasants, but his widow was far worse. One day she was driving to church -- it was the anniversary of her husband's death -- and she said to the coachman " I wish to know how it is with my husband that's gone."The coachman -- Claus was his name, and he was a free-spoken man -- made answer ; 'Well, my lady, it's not so easy to find out, but I'm sure he's not suffering from the cold." She was very angry and threatened the man that unless by the third Sunday from then he brought news from her husband of how he fared, he would lose his life.
Claus knew she was a woman of her word, and first went to ask advice of a priest who was said to be as learned as any bishop, but he could only tell him that he had a brother, a priest in Norway, that knew more than he ; Claus had best go to him. He did so, and this priest, after some thought, said : "Well, I can bring about a meeting between you, but it will be a risky thing for you if you are afraid of him ; you will have to give the message yourself." It was settled that at night they should go out into a great wood and call up the lord. When they got there the priest set to work to read -- till the hair stood upright on Claus's head. In a little time they heard a terrible noise, and a fiery red carriage with horses that threw out sparks of fire all about them came driving through the wood and pulled up beside them. Claus recognised his master. "Who is it would speak with me?", roared he from the carriage. Claus took off his hat and said, "My lady's regards to you my lord and she would know how he has fared since he died." "Tell her," said the lord, "that I am in hell and there's a chair in making for her. It's finished, all but one leg, and when that is done she will be fetched, unless she gives back Agersted. And to prove that you habe talked with me, I give you this ring of my betrothal, which you may give her."

The coachman held out his hat and in to it there fell a ring ; but the carriage and horses had vanished. On the third Sunday Claus took his stand outside the church when Lady Ingeborg came driving up. When she saw him she asked at once what message he had brought, and Claus told her what he had seen and heard, and gave her the ring, which she recognised.
"Good," she said, " you have saved your life, and I shall join my husband when I am dead -- that will no doubt be so -- but I will never give up Agersted." '

In other versions the land is given back and somewhere among E.T. Kristensen's multitudinous collections there is, I am confident, a version in which a receipt for rent actually plays a part.
Three stories, 'Ligeia', "The Werewolf', Schalken the Painter', all date from 1838 - 9.

Table of Contents
 

1660(?) - 1731
 

1771 - 1832
(Letter XI. Redgauntlet)
 

1792 - 1848
(chapter 39 of The Phantom Ship)

1803 - 1873
 

1804 - 1864

1809 - 1849
1850, vol. I

1814 - 1873
from The Purcell Papers Vol. II
 

1819 - 1880
 

1828 - 1897
 

1850 - 1894
 

1863 - 1943
 

1866 - 1946

1869 - 1951
 

1864 - 1928
 

1862 - 1936
originally published in
More Ghost Stories. 1911
 

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Consider The Evidence

albion miscellanies volume 1
is 2005/2006/2007 sam-and-lizzie
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