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Ghost Stories of an Antiquary
M. R. James
HarperCollins is proud to present its incredible range of best-loved, essential classics.‘At first you saw only a mass of coarse, matted black hair; presently it was seen that this covered a body of fearful thinness, almost a skeleton, but with the muscles standing out like wires’M.R. James’ ghost stories are brimming with delicate horror. They take place in the quiet corners of churches, and between the dusty shelves of esteemed college libraries. But when Professor Parkin discovers a whistle in a Templar ruin, or Sir Richard Fell inherits a country manor with a horrifying history, malevolent forces are unleashed. Something half-glimpsed, something not of this world, is preparing to disturb the silence.Having terrified generations since its first publication in 1904, Ghost Stories of an Antiquary is a collection that will haunt the reader’s imagination long after the lights have gone out.
GHOST STORIES OF AN ANTIQUARY
M. R. James
Copyright (#ulink_e10397f6-8da2-5198-8d77-2c761670e176)
William Collins
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Classic Literature: Words and Phrases adapted from Collins English Dictionary
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This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
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Source ISBN: 9780008242091
Ebook Edition © June 2017 ISBN: 9780008242107
Version: 2017-05-30
Contents
Cover (#u95b5dddf-d519-50b5-990e-9bba1efdf38c)
Title Page (#u4a4ff47c-05f8-55fe-96c6-9dd50f766823)
Copyright (#u40b50d75-93f9-53bb-b99c-4374962f6e59)
History of William Collins (#u9f4bc72a-c401-5a49-9df6-eb4096b8f587)
Life & Times (#u6bb93d2c-a765-56a7-af1b-36f9deffc05c)
Canon Alberic’s Scrap-Book
Lost Hearts
The Mezzotint
The Ash-tree
Number 13
Count Magnus
“Oh, Whistle, and I’ll Come to You, My Lad”
The Treasure of Abbot Thomas
Footnotes
Classic Literature: Words and Phrases
About the Publisher (#litres_trial_promo)
History of William Collins (#ulink_abeb5a1f-fc4e-5f4a-9f86-f5bd090a638d)
In 1819, millworker William Collins from Glasgow, Scotland, set up a company for printing and publishing pamphlets, sermons, hymn books, and prayer books. That company was Collins and was to mark the birth of HarperCollins Publishers as we know it today. The long tradition of Collins dictionary publishing can be traced back to the first dictionary William co-published in 1825, Greek and English Lexicon. Indeed, from 1840 onwards, he began to produce illustrated dictionaries and even obtained a licence to print and publish the Bible.
Soon after, William published the first Collins novel; however, it was the time of the Long Depression, where harvests were poor, prices were high, potato crops had failed, and violence was erupting in Europe. As a result, many factories across the country were forced to close down and William chose to retire in 1846, partly due to the hardships he was facing.
Aged 30, William’s son, William II, took over the business. A keen humanitarian with a warm heart and a generous spirit, William II was truly ‘Victorian’ in his outlook. He introduced new, up-to-date steam presses and published affordable editions of Shakespeare’s works and ThePilgrim’s Progress, making them available to the masses for the first time.
A new demand for educational books meant that success came with the publication of travel books, scientific books, encyclopedias, and dictionaries. This demand to be educated led to the later publication of atlases, and Collins also held the monopoly on scripture writing at the time.
In the 1860s Collins began to expand and diversify and the idea of ‘books for the millions’ was developed, although the phrase wasn’t coined until 1907. Affordable editions of classical literature were published, and in 1903 Collins introduced 10 titles in their Collins Handy Illustrated Pocket Novels. These proved so popular that a few years later this had increased to an output of 50 volumes, selling nearly half a million in their year of publication. In the same year, The Everyman’s Library was also instituted, with the idea of publishing an affordable library of the most important classical works, biographies, religious and philosophical treatments, plays, poems, travel, and adventure. This series eclipsed all competition at the time, and the introduction of paperback books in the 1950s helped to open that market and marked a high point in the industry.
HarperCollins is and has always been a champion of the classics, and the current Collins Classics series follows in this tradition – publishing classical literature that is affordable and available to all. Beautifully packaged, highly collectible, and intended to be reread and enjoyed at every opportunity.
Life & Times (#ulink_56335408-2689-5b30-8235-b18e98772094)
About the Author
For a writer considered the leading light of a literary genre Montague Rhodes James lived a private, uncontroversial life. Born into a respectable Christian family in Kent in 1862 and then raised in Suffolk, he was educated at Eton College, studied diligently, and was later accepted into Cambridge University, where he was awarded numerous prizes and a double first in Classics. Remaining in Cambridge after graduation, James went on to become the director of the Fitzwilliam Museum, a fellow of King’s College, and ultimately vice-chancellor of the university. His final post was back at Eton, as provost, from 1918 until his death there in 1936. He never married and rarely expressed an interest in politics.
It was a quiet life, and one filled with simple pleasures: travels around Britain and Europe; fine art and interesting books; lively debate with students about Classics and literature; ghost stories with friends around the fire at Christmas time. It is perhaps surprising that, in his extracurricular fictional works, James should be content to write about unremarkable scholars with quiet lives – but he knew what he was doing. The genius of M. R. James lies largely in the fact that so many of his characters are just like him.
James the Antiquary
James’s first collection, Ghost Stories of an Antiquary, published in 1904, laid the groundwork for what would become a keystone of his literary output: from the title to the plots to the narrative style, there is something very knowing – almost self-mocking – about the way he presents a tale. This is not to say that his ghost stories are designed to be humorous: far from it. Rather they are designed to suggest authenticity.
James was a respected academic and a noted antiquary – a student and collector of old manuscripts, artefacts and art. From the very first story in this collection, ‘Canon Alberic’s Scrapbook’, he establishes a narrative voice that could conceivably be his own, leaving the reader suitably ill at ease as to whether James has invented the story or experienced it himself. The scrapbook, we are told, ‘is in the Wentworth Collection at Cambridge’; the mezzotint in the story of the same name ‘is in the Ashleian Museum’. The book is full of references to ‘the papers I have quoted’ and ‘the papers out of which I have made a connected story’, and peppered with academic footnotes and intellectual asides. ‘The Treasure of Abbot Thomas’ begins with a lengthy paragraph entirely in Latin, which an antiquary is carefully copying from a rare book; ‘Number 13’ begins with a digression into the bloody history of medieval Denmark, which ends abruptly with the knowing self-admonishment ‘But I am not writing a guide-book.’
This all adds up to a sense that we are in the hands of a rational, learned narrator – possibly James himself – and certainly one who would know nonsense if he saw it. In an apt response to the question of whether he himself believed in ghosts, James once said, ‘I am prepared to consider evidence and accept it if it satisfies me.’ And if our reliable author/narrator believes in ghost stories, what cause has the ordinary reader to doubt them?
Stories for a Small Audience
Growing up in the later decades of the nineteenth century, James was very familiar with the Gothic horror stories that so fascinated the Victorians. But the stories he wanted to write were quite different from those of his predecessors and even of many of his contemporaries. He wasn’t interested in the grotesque monsters of Shelley’s Frankenstein (1818) or Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886), nor in the hysteria surrounding vampires that culminated in Stoker’s Dracula (1897), nor even in the chain-rattling ghosts of Dickens’s A Christmas Carol (1843). James wanted subtlety in his stories: apparitions that murmur on the breeze and watch through windows, half heard and half seen. He wanted realistic psychological terror. ‘Bram Stoker’s Dracula is a book with very good ideas in it,’ he wrote in 1931, ‘but … the butter is spread far too thick. Excess is the fault here.’ It was far more effective, he felt, to push the reader’s imagination in the right direction and leave it to do its worst.
James’s stories were not written to shock the public; they were written to spook a small audience. He was a pioneer of a tradition we now associate with the Victorians – that of the fireside ghost story on Christmas Eve. Most of the stories in this collection were written to entertain his friends at King’s College, Cambridge; he would gather them in one room and read out loud by the eerie light of a single candle. Combined with his preference for a first-person scholarly narrator, the effect must have been quite hair-raising.
The Rules of Ghost Stories
Over the course of his career, James was frequently called upon to divulge the secret of his success. What, he was repeatedly asked, were the rules governing a good ghost story? ‘Two ingredients most valuable,’ he wrote in 1924, ‘are, to me, the atmosphere and the nicely managed crescendo.’ The tale should begin in a perfectly ordinary way, with ordinary-seeming characters ‘going about their ordinary business, undisturbed by forebodings, 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.’
James recommended giving ghost stories ‘a slight haze of distance’ – setting them just a decade or two in the past, so that they were recognisably realistic without being distractingly modern. He wanted, above all, to work the reader into a state of quiet anxiety that encouraged him to think ‘If I’m not very careful, something of this kind may happen to me!’ These rules are a template for many of James’s stories.
M. R. James was a master of his art but a reluctant celebrity. An academic first and foremost who delighted in entertaining his close friends, he remained modest about the literary value of the stories in this collection. ‘If any of them succeed in causing their readers to feel pleasantly uncomfortable when walking along a solitary road at nightfall, or sitting over a dying fire in the small hours,’ he wrote in the preface to the first edition, ‘my purpose in writing them will have been attained.’
If anyone is curious about my local settings, let it be recorded that St Bertrand de Comminges and Viborg are real places: that in “Oh, Whistle, and I’ll Come to You” I had Felixstowe in mind. As for the fragments of ostensible erudition which are scattered about my pages, hardly anything in them is not pure invention; there never was, naturally, any such book as that which I quote in “The Treasure of Abbot Thomas”. “Canon Alberic’s Scrap-book” was written in 1894 and printed soon after in the National Review, “Lost Hearts” appeared in the Pall Mall Magazine; of the next five stories, most of which were read to friends at Christmas-time at King’s College, Cambridge, I only recollect that I wrote “Number 13” in 1899, while “The Treasure of Abbot Thomas” was composed in the summer of 1904.
M. R. JAMES
CANON ALBERIC’S SCRAP-BOOK (#u08008bf3-1880-5d0c-9c56-4a23ad85c017)
St Bertrand de Comminges is a decayed town on the spurs of the Pyrenees, not very far from Toulouse, and still nearer to Bagnères-de-Luchon. It was the site of a bishopric until the Revolution, and has a cathedral which is visited by a certain number of tourists. In the spring of 1883 an Englishman arrived at this old-world place—I can hardly dignify it with the name of city, for there are not a thousand inhabitants. He was a Cambridge man, who had come specially from Toulouse to see St Bertrand’s Church, and had left two friends, who were less keen archaeologists than himself, in their hotel at Toulouse, under promise to join him on the following morning. Half an hour at the church would satisfy them, and all three could then pursue their journey in the direction of Auch. But our Englishman had come early on the day in question, and proposed to himself to fill a note-book and to use several dozens of plates in the process of describing and photographing every corner of the wonderful church that dominates the little hill of Comminges. In order to carry out this design satisfactorily, it was necessary to monopolize the verger of the church for the day. The verger or sacristan (I prefer the latter appellation, inaccurate as it may be) was accordingly sent for by the somewhat brusque lady who keeps the inn of the Chapeau Rouge; and when he came, the Englishman found him an unexpectedly interesting object of study. It was not in the personal appearance of the little, dry, wizened old man that the interest lay, for he was precisely like dozens of other church-guardians in France, but in a curious furtive or rather hunted and oppressed air which he had. He was perpetually half glancing behind him; the muscles of his back and shoulders seemed to be hunched in a continual nervous contraction, as if he were expecting every moment to find himself in the clutch of an enemy. The Englishman hardly knew whether to put him down as a man haunted by a fixed delusion, or as one oppressed by a guilty conscience, or as an unbearably henpecked husband. The probabilities, when reckoned up, certainly pointed to the last idea; but, still, the impression conveyed was that of a more formidable persecutor even than a termagant wife.
However, the Englishman (let us call him Dennistoun) was soon too deep in his note-book and too busy with his camera to give more than an occasional glance to the sacristan. Whenever he did look at him, he found him at no great distance, either huddling himself back against the wall or crouching in one of the gorgeous stalls. Dennistoun became rather fidgety after a time. Mingled suspicions that he was keeping the old man from his déjeuner, that he was regarded as likely to make away with St Bertrand’s ivory crozier, or with the dusty stuffed crocodile that hangs over the font, began to torment him.
“Won’t you go home?” he said at last; “I’m quite well able to finish my notes alone; you can lock me in if you like. I shall want at least two hours more here, and it must be cold for you, isn’t it?”
“Good heavens!” said the little man, whom the suggestion seemed to throw into a state of unaccountable terror, “such a thing cannot be thought of for a moment. Leave monsieur alone in the church? No, no; two hours, three hours, all will be the same to me. I have breakfasted, I am not at all cold, with many thanks to monsieur.”
“Very well, my little man,” quoth Dennistoun to himself: “you have been warned, and you must take the consequences.”
Before the expiration of the two hours, the stalls, the enormous dilapidated organ, the choir-screen of Bishop John de Mauléon, the remnants of glass and tapestry, and the objects in the treasure-chamber had been well and truly examined; the sacristan still keeping at Dennistoun’s heels, and every now and then whipping round as if he had been stung, when one or other of the strange noises that trouble a large empty building fell on his ear. Curious noises they were, sometimes.
“Once,” Dennistoun said to me, “I could have sworn I heard a thin metallic voice laughing high up in the tower. I darted an inquiring glance at my sacristan. He was white to the lips. ‘It is he—that is—it is no one; the door is locked,’ was all he said, and we looked at each other for a full minute.”
Another little incident puzzled Dennistoun a good deal. He was examining a large dark picture that hangs behind the altar, one of a series illustrating the miracles of St Bertrand. The composition of the picture is well-nigh indecipherable, but there is a Latin legend below, which runs thus:
Qualiter S. Bertrandus liberavit hominem quem diabolus diu volebat strangulare. (How St Bertrand delivered a man whom the Devil long sought to strangle.)
Dennistoun was turning to the sacristan with a smile and a jocular remark of some sort on his lips, but he was confounded to see the old man on his knees, gazing at the picture with the eye of a suppliant in agony, his hands tightly clasped, and a rain of tears on his cheeks. Dennistoun naturally pretended to have noticed nothing, but the question would not go away from him, “Why should a daub of this kind affect anyone so strongly?” He seemed to himself to be getting some sort of clue to the reason of the strange look that had been puzzling him all the day: the man must be a monomaniac; but what was his monomania?
It was nearly five o’clock; the short day was drawing in, and the church began to fill with shadows, while the curious noises—the muffled footfalls and distant talking voices that had been perceptible all day—seemed, no doubt because of the fading light and the consequently quickened sense of hearing, to become more frequent and insistent.
The sacristan began for the first time to show signs of hurry and impatience. He heaved a sigh of relief when camera and note-book were finally packed up and stowed away, and hurriedly beckoned Dennistoun to the western door of the church, under the tower. It was time to ring the Angelus. A few pulls at the reluctant rope, and the great bell Bertrande, high in the tower, began to speak, and swung her voice up among the pines and down to the valleys, loud with mountain-streams, calling the dwellers on those lonely hills to remember and repeat the salutation of the angel to her whom he called Blessed among women. With that a profound quiet seemed to fall for the first time that day upon the little town, and Dennistoun and the sacristan went out of the church.
On the doorstep they fell into conversation.
“Monsieur seemed to interest himself in the old choir-books in the sacristy.”
“Undoubtedly. I was going to ask you if there were a library in the town.”
“No, monsieur; perhaps there used to be one belonging to the Chapter, but it is now such a small place—” Here came a strange pause of irresolution, as it seemed; then, with a sort of plunge, he went on: “But if monsieur is amateur des vieux livres, I have at home something that might interest him. It is not a hundred yards.”
At once all Dennistoun’s cherished dreams of finding priceless manuscripts in untrodden corners of France flashed up, to die down again the next moment. It was probably a stupid missal of Plantin’s printing, about 1580. Where was the likelihood that a place so near Toulouse would not have been ransacked long ago by collectors? However, it would be foolish not to go; he would reproach himself for ever after if he refused. So they set off. On the way the curious irresolution and sudden determination of the sacristan recurred to Dennistoun, and he wondered in a shamefaced way whether he was being decoyed into some purlieu to be made away with as a supposed rich Englishman. He contrived, therefore, to begin talking with his guide, and to drag in, in a rather clumsy fashion, the fact that he expected two friends to join him early the next morning. To his surprise, the announcement seemed to relieve the sacristan at once of some of the anxiety that oppressed him.
“That is well,” he said quite brightly—“that is very well. Monsieur will travel in company with his friends: they will be always near him. It is a good thing to travel thus in company—sometimes.”
The last word appeared to be added as an afterthought and to bring with it a relapse into gloom for the poor little man.
They were soon at the house, which was one rather larger than its neighbours, stone-built, with a shield carved over the door, the shield of Alberic de Mauléon, a collateral descendant, Dennistoun tells me, of Bishop John de Mauléon. This Alberic was a Canon of Comminges from 1680 to 1701. The upper windows of the mansion were boarded up, and the whole place bore, as does the rest of Comminges, the aspect of decaying age.
Arrived on his doorstep, the sacristan paused a moment.
“Perhaps,” he said, “perhaps, after all, monsieur has not the time?”
“Not at all—lots of time—nothing to do till tomorrow. Let us see what it is you have got.”
The door was opened at this point, and a face looked out, a face far younger than the sacristan’s, but bearing something of the same distressing look: only here it seemed to be the mark, not so much of fear for personal safety as of acute anxiety on behalf of another. Plainly the owner of the face was the sacristan’s daughter; and, but for the expression I have described, she was a handsome girl enough. She brightened up considerably on seeing her father accompanied by an able-bodied stranger. A few remarks passed between father and daughter of which Dennistoun only caught these words, said by the sacristan: “He was laughing in the church,” words which were answered only by a look of terror from the girl.
But in another minute they were in the sitting-room of the house, a small, high chamber with a stone floor, full of moving shadows cast by a wood-fire that flickered on a great hearth. Something of the character of an oratory was imparted to it by a tall crucifix, which reached almost to the ceiling on one side; the figure was painted of the natural colours, the cross was black. Under this stood a chest of some age and solidity, and when a lamp had been brought, and chairs set, the sacristan went to this chest, and produced therefrom, with growing excitement and nervousness, as Dennistoun thought, a large book, wrapped in a white cloth, on which cloth a cross was rudely embroidered in red thread. Even before the wrapping had been removed, Dennistoun began to be interested by the size and shape of the volume. “Too large for a missal,” he thought, “and not the shape of an antiphoner; perhaps it may be something good, after all.” The next moment the book was open, and Dennistoun felt that he had at last lit upon something better than good. Before him lay a large folio, bound, perhaps, late in the seventeenth century, with the arms of Canon Alberic de Mauléon stamped in gold on the sides. There may have been a hundred and fifty leaves of paper in the book, and on almost every one of them was fastened a leaf from an illuminated manuscript. Such a collection Dennistoun had hardly dreamed of in his wildest moments. Here were ten leaves from a copy of Genesis, illustrated with pictures, which could not be later than A.D. 700. Further on was a complete set of pictures from a Psalter, of English execution, of the very finest kind that the thirteenth century could produce; and, perhaps best of all, there were twenty leaves of uncial writing in Latin, which, as a few words seen here and there told him at once, must belong to some very early unknown patristic treatise. Could it possibly be a fragment of the copy of Papias “On the Words of Our Lord”, which was known to have existed as late as the twelfth century at Nimes?
In any case, his mind was made up; that book must return to Cambridge with him, even if he had to draw the whole of his balance from the bank and stay at St. Bertrand till the money came. He glanced up at the sacristan to see if his face yielded any hint that the book was for sale. The sacristan was pale, and his lips were working.
“If monsieur will turn on to the end,” he said.
So monsieur turned on, meeting new treasures at every rise of a leaf; and at the end of the book he came upon two sheets of paper, of much more recent date than anything he had seen yet, which puzzled him considerably. They must be contemporary, he decided, with the unprincipled Canon Alberic, who had doubtless plundered the Chapter library of St Bertrand to form this priceless scrap-book. On the first of the paper sheets was a plan, carefully drawn and instantly recognizable by a person who knew the ground, of the south aisle and cloisters of St Bertrand’s. There were curious signs looking like planetary symbols, and a few Hebrew words in the corners; and in the north-west angle of the cloister was a cross drawn in gold paint. Below the plan were some lines of writing in Latin, which ran thus:
Responsa 12mi Dec. 1694. Interrogatum est: Inveniamne? Responsum est: Invenies. Fiamne dives? Fies. Vivamne invidendus? Vives. Moriarne in lecto meo? Ita. (Answers of the 12th of December, 1694. It was asked: Shall I find it? Answer: Thou shalt. Shall I become rich? Thou wilt. Shall I live an object of envy? Thou wilt. Shall I die in my bed? Thou wilt.)
“A good specimen of the treasure-hunter’s record—quite reminds one of Mr Minor-Canon Quatremain in Old St Paul’s,” was Dennistoun’s comment, and he turned the leaf.
What he then saw impressed him, as he has often told me, more than he could have conceived any drawing or picture capable of impressing him. And, though the drawing he saw is no longer in existence, there is a photograph of it (which I possess) which fully bears out that statement. The picture in question was a sepia drawing at the end of the seventeenth century, representing, one would say at first sight, a Biblical scene; for the architecture (the picture represented an interior) and the figures had that semi-classical flavour about them which the artists of two hundred years ago thought appropriate to illustrations of the Bible. On the right was a king on his throne, the throne elevated on twelve steps, a canopy overhead, soldiers on either side—evidently King Solomon. He was bending forward with outstretched sceptre, in attitude of command; his face expressed horror and disgust, yet there was in it also the mark of imperious command and confident power. The left half of the picture was the strangest, however. The interest plainly centred there.
On the pavement before the throne were grouped four soldiers, surrounding a crouching figure which must be described in a moment. A fifth soldier lay dead on the pavement, his neck distorted, and his eye-balls starting from his head. The four surrounding guards were looking at the King. In their faces, the sentiment of horror was intensified; they seemed, in fact, only restrained from flight by their implicit trust in their master. All this terror was plainly excited by the being that crouched in their midst.
I entirely despair of conveying by any words the impression which this figure makes upon anyone who looks at it. I recollect once showing the photograph of the drawing to a lecturer on morphology—a person of, I was going to say, abnormally sane and unimaginative habits of mind. He absolutely refused to be alone for the rest of that evening, and he told me afterwards that for many nights he had not dared to put out his light before going to sleep. However, the main traits of the figure I can at least indicate.
At first you saw only a mass of coarse, matted black hair; presently it was seen that this covered a body of fearful thinness, almost a skeleton, but with the muscles standing out like wires. The hands were of a dusky pallor, covered, like the body, with long, coarse hairs, and hideously taloned. The eyes, touched in with a burning yellow, had intensely black pupils, and were fixed upon the throned King with a look of beast-like hate. Imagine one of the awful bird-catching spiders of South America translated into human form, and endowed with intelligence just less than human, and you will have some faint conception of the terror inspired by the appalling effigy. One remark is universally made by those to whom I have shown the picture: “It was drawn from the life.”
As soon as the first shock of his irresistible fright had subsided, Dennistoun stole a look at his hosts. The sacristan’s hands were pressed upon his eyes; his daughter, looking up at the cross on the wall, was telling her beads feverishly.
At last the question was asked: “Is this book for sale?”
