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A tall, cadaverous young man makes up for a ghost in an anonymous novel, [15] while a mysterious woman in a black veil attends a midnight funeral in the castle, then unaccountably disappears.
In Melmoth the monks persecute a despised brother by impersonating spirits in his cell. They cover the walls with images of fiends, over which they smear phosphorus, and burn sulphur to assist the deception. They utter mocking cries as of demons, seeking to drive him mad. In other Gothic novels there are various spectral frauds cleverly planned, and then revealed, but their explanation does not altogether dispel the uncanny impression they make. The ghost that stays at home in a definite place, haunting its own demesne, is a familiar figure in the fiction of the period.
Every castle has its haunted tower or dungeon or apartment with its shade that walks by night. Several appear carrying candles or lamps to light them through the blackness of architectural labyrinths. Several evince a fondness for bells and herald their coming by rings. In one romance, [16] the ghost takes the form of a white cow.
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Doubtless many ghosts in real life have had a similar origin. In another, [17] a specter in armor appears to terrify his murderer, and supernatural lightning aids in his revenge. It would be impossible to designate all the ghosts in Gothic fiction for there is wholesale haunting. They appear in the plot to warn, to comfort or command, and seem to have very human characteristics on the whole. Yet they are not so definitely personated, not so individual and realistic as the spirits in later fiction, though they do achieve some creepy effects.
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It is not their brute force that impresses us. We are less moved by the armored knight and the titanic adversary in Otranto than by the phantoms in the Hall of Eblis. The vindictive ghosts, mouldy from the vault, are less appalling than the bodiless voices of wronged women and children that haunt the death-bed and bring a corpse back to dreadful life. The specters with flamboyant personality, that oppress us with their egotistic clamor, may be soon forgotten, but the ghostly suggestiveness of other spirits has a haunting power that is inescapable.
Some of the [26] Gothic ghosts have a strange vitality,—and, after all, where would be the phantoms of to-day but for their early services? While not at all equal in importance to the ghosts, witches and warlocks add to the excitement in Gothic fiction. There is but little change from the witch of dramatic tradition, for we have both the real and the reputed witch in the terror novel, the genuine antique hag who has powers given her from the devil, and the beautiful young girl who is wrongly suspected of an unholy alliance with the dark spirits.
In Melmoth , there is an old woman doctor who has uncanny ability. The hag Carathis, in Vathek , is a witch of rare skill, who concocts her magic potions and by supernatural means forces all things to her will. They have the choice of being burned alive or being baptized, but with wild cries they struggle against the holy water and face the flames.
There is an innocent [27] young reputed witch in The Hunt of Eildon , who is sentenced to death for her art. The devil incarnate is one of the familiar figures in the terror novel. Here, as in the case of the ghost, we see the influence of the dramatic rather than of the epic tradition. Faustus rather than to the satanic creations of Dante and Milton. He is not a dread, awe-inspiring figure either physically or as a personality, though he does assume terrifying, almost epic proportions in the closing scenes of The Monk and Zofloya.
Neither is he as human, as appealing to our sympathies as the lonely, misjudged, misunderstood devils in later fiction. We neither love nor greatly fear the Gothic demon. Yet he does appear in interesting variants and deserves our study. There is a clever psychologic suggestiveness here, which perhaps inspired a similar idea in a recent play, The Eternal Magdalen. Later he is recognized and holy water thrown on him. The whole form and visage of the creature was changed in a moment to that of a furious fiend.
He uttered a yell that made all the abbey shake to its foundations and forthwith darted away into the air, wrapt in flames.
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As he ascended, he waved his right hand and shook his fiery locks at his inquisitors. Satan appears dramatically in The Monk as well. His first visits are made in the form of attractive youth. But the repentant monk refuses her advice, so she departs in a temper of blue flame. Then he has a more dread visitant,—Lucifer himself, described as follows:.
Over his huge shoulders waved two enormous sable wings; and his hair was supplied by living snakes which twined themselves with frightful hissings. In one hand he held a roll of parchment, and in the other an iron pen. Still the lightnings flashed around him and the thunder bursts seemed to announce the dissolution of nature. Ambrosio is overawed into selling his soul and signs the compact with his blood, as per convention.
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The demon continued to soar aloft till, reaching a dreadful height, he released the sufferer. Headlong fell the monk. Victoria has been induced to bind herself to the Evil One, who has appeared as a Moorish servant of impressive personality and special powers. He grants her wishes hostile to her enemies, holding many conferences with her in the dark forest where he is heralded by flute-like sounds. He appears sometimes like a flame, sometimes like a lightning flash.
He comes with the swiftness of the [29] wind and tells her that her thoughts summoned him.
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At last, he announces himself as Satan, and assumes his own hideous form of gigantism. Behold me as I am, no longer that which I appeared to be, but the sworn enemy of all created nature, by men called Satan. Yes, it was I that under semblance of the Moor appeared to thee. As he spoke, he grasped more firmly the neck of Victoria, with one push he whirled her headlong down the dreadful abyss! The devil is seen in Vathek as a preternaturally ugly old man with strange powers. James Hogg has rather a penchant for the demon, for he uses him in The Wool-Gatherer , and in Confessions of a Justified Sinner , which is a story of religious superstition, of the use of diablerie and witchcraft, introducing a satanic tempter.
On the whole, the appearances of the devil in Gothic fiction lack impressiveness, are weak in psychologic subtlety, and have not the force either of the epic or of the dramatic representations. Nor have they the human appeal that the incarnations of the devil in later fiction make to our sympathies. Supernaturalism in the horror novel is by no means confined to human beings, but extends to beasts as well. Animals are supposed to be peculiarly sensitive to ghostly impressions, more so than men, and the appearance of a specter is often first announced by the extreme terror of some household [30] pet, or other animal.
Gothic dogs have very keen noses for ghosts and howl lugubriously when an apparition approaches. Ravens are represented as showing the presence of evil powers, somewhat as the Southern darkey believes that the jay-bird is the ally of the devil and spends every Friday in torment. In this case the husband of a beautiful young woman is a werewolf who during his savage metamorphosis tears her to pieces then disappears to return no more.
Professor Kittridge has shown the frequency of the werewolf motif in medieval story, by the variants he brings together in his Arthur and Gorlogon. In The Albigenses a lycanthrope also is described, a hideous human being that fancies himself a mad wolf. In one, [18] Sandy is saved from going over a precipice by the warning of a hare that immediately after vanishes, having left no tracks in the snow.
In another, [19] the two white beagles that the king uses in hunting are in reality maidens bound by enchantment, who are forced to slay human beings then transform them into deer for the king and his company to eat. The other dogs are aware of the unnatural state of affairs, while the men are too stupid to realize it.
The clownish Croudy is changed into a hog, which brings amusing and almost tragic complications into his life. His old dog knows him and follows him pathetically, and a drove of cows go off in a stampede at his approach, for they, too, sense the [31] supernatural spell. Croudy is put on the block to be killed for pork, when the fairy changes him back suddenly to the consternation of the butcher. But Croudy does not behave well after his transformation, so he is changed into a cat with endless life.
He may resume mortal shape one night in the year and relate his feline experiences. In the same story the king of Scotland is proposing a toast when his favorite dog dashes the cup from his hand. This is repeated several times, till the king learns that the drink is poisoned, and the dog has thus by supernatural knowledge saved his life. An innocent young girl, sentenced to death for witchcraft because a fairy has taken her form and worked enchantment, and her lover are transformed into white birds that fly out of the prison the night before the execution and live eternally on the shores of a far lake.
The ghostly power extends to inanimate objects as well as to human beings and animals. Armor and costumes seem to have a material immortality of their own, for it is quite common to recognize spectral visitants by their garments or accouterments. Armor clanks audibly in the terror scenes. In The Castle of Otranto , the giant ghost sends his immense helmet crashing into the hall to shatter the would-be-bridegroom and the hopes of his father.
The head-gear has power of voluntary motion and moves around with agility, saves the heroine from danger by waving its plumes at the villain and generally adds excitement to the scenes. Later a titanic sword leaps into place of itself, after having been borne to the entrance by a hundred men fainting under the weight of it, while a statue of Alfonso sheds three drops of blood from its nose and a portrait turns round in its frame and strolls out into the open. Pictures in general take a lively part in horrific fiction. The portrait of a murdered man in The Spirit of the Castle [32] picks itself up from the lumber heap where it has been thrown, cleans itself and hangs itself back on the wall, while [20] a portrait in a deserted chamber wags its head at a servant who is making the bed.
The portrait of Melmoth is endowed with supernatural power, for its eyes follow the beholder with awful meaning, and as the nephew in desperation tears it from its frame and burns it, the picture writhes in the flames, ironically, and mocks him.