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3. Famous Ghost Stories

"What Was It?" by Fitzjames O'Brien, is a typical Ghost Story of horror. The dreadfulness of the experience is graphically pictured and the hold on the reader's attention is entirely that of the supernatural.

A parallel story is Maupassant's "The Horla."

This latter story is much longer and more elaborate, but the plots are almost identical. The Frenchman's story is told with a greater art, but is spun out to too great a length, and in some parts the horror is mere hysteria.

Among Ghost Stories with an occult moral, Kipling's "They" stands pre-eminent. This story has the element of beauty rather than horror, but it is a perfect Ghost Story none the less.

"The Turn of The Screw" is a wonderful Ghost Story. The supernatural element of its matter, aided by the supernatural element in Henry James' manner is a combination that makes a Ghost Story of distinguishment.

For stories of sheer hair-raising horror, F. Marion Crawford's Ghost Stories stand easily in the first rank. "The upper berth" is quite as terrifying a conception as the stories of O'Brien and Maupassant, but the descriptive details give an atmosphere of fright unattained by the other two. As an example of Mr. Crawford's awful word pictures we append the following extracts:

The light was growing strangely dim in the great room. As Evelyn looked, Nurse Mcdonald's crooked shadow on the wall grew gigantic. Sir Hugh's breath came thick, rattling in his throat, as death crept in like a snake and choked it back. Evelyn prayed aloud, high and clear.

Then something rapped at the window, and she felt her hair rise upon her head in a cool breeze, as she looked around in spite of herself. And when she saw her own white face looking in at the window, and her own eyes staring at her through the glass, wide and fearful, and her own hair streaming against the pane, and her own lips dashed with blood, she rose slowly from the floor and stood rigid for one moment, till she screamed once and fell straight back into Gabriel's arms. But the shriek that answered hers was the fear shriek of the tormented corpse, out of which the soul cannot pass for shame of deadly sins, though the devils fight in it with corruption, each for their due share.

Sir Hugh Ockram sat upright in his deathbed, and saw and cried loud.

* * *

Slowly Nurse Macdonald's wrinkled eyelids folded themselves back, and she looked straight at the face at the window while one might count ten.

"Is it time?" she asked in her little old, far away voice.

While she looked the face at the window changed, for the eyes opened wider and wider till the white glared all round the bright violet, and the bloody lips opened over gleaming teeth, and stretched and widened and stretched again, and the shadowy golden hair rose and streamed against the window in the night breeze. And in answer to Nurse Macdonald's question came the sound that freezes the living flesh.

That low moaning voice that rises suddenly, like the scream of storm, from a moan to a wail, from a wail to a howl, from a howl to the fear shriek of the tortured dead—he who has heard knows, and he can bear witness that the cry of the banshee is an evil cry to hear alone in the deep night.

* * *

He was as brave as any of those dead men had been, and they were his fathers, and he knew that sooner or later he should lie there himself, beside Sir Hugh, slowly drying to a parchment shell. But he was still alive, and he closed his eyes a moment, and three great drops stood on his forehead.

Then he looked again, and by the whiteness of the winding-sheet he knew his father's corpse, for all the others were brown with age; and, moreover, the flame of the candle was blown toward it. He made four steps till he reached it, and suddenly the light burned straight and high, shedding a dazzling yellow glare upon the fine linen that was all white, save over the face, and where the joined hands were laid on the breast. And at those places ugly stains had spread, darkened with outlines of the features and of the tight-clasped fingers. There was a frightful stench of drying death.

As Sir Gabriel looked down, something stirred behind him, softly at first, then more noisily, and something fell to the stone floor with a dull thud and rolled up to his feet; he started back and saw a withered head lying almost face upward on the pavement, grinning at him. He felt the cold sweat standing on his face, and his heart beat painfully.

For the first time in all his life that evil thing which men call fear was getting hold of him, checking his heart-strings as a cruel driver checks a quivering horse, clawing at his backbone with icy hands, lifting his hair with freezing breath, climbing up and gathering in his midriff with leaden weight.

Yet presently he bit his lip and bent down, holding the candle in one hand, to lift the shroud back from the head of the corpse with the other. Slowly he lifted it. Then it clove to the half-dried skin of the face, and his hand shook as if some one had struck him on the elbow, but half in fear and half in anger at himself, he pulled it, so that it came away with a little ripping sound. He caught his breath as he held it, not yet throwing it back, and not yet looking. The horror was working in him, and he felt that old Vernon Ockram was standing up in his iron coffin, headless, yet watching him with the stump of his severed neck.

While he held his breath he felt the dead smile twisting his lips. In sudden wrath at his own misery, he tossed the death-stained linen backward, and looked at last. He ground his teeth lest he should shriek aloud.

Perhaps unique amongst Ghost Stories is the one by Mr. Crawford entitled "The Doll's Ghost." It would seem difficult to conceive a story of the ghost of a little girl's doll, that should be neither melodramatic nor ridiculous, but Mr. Crawford accomplished this, and the little sketch, while a true Ghost Story, is pathetic and charming.

4. The Humorous Ghost Story

Rarely, and only in the hands of a master, may a Ghost Story be treated with levity. The humorous touch is dangerous in connection with the supernatural. But the whimsical genius of Frank R. Stockton surmounted all difficulties and gave us two delicious humorous Ghost Stories, of which we quote a few lines.

The figure was certainly that of John Hinckman in his ordinary dress, but there was a vagueness and indistinctness about it which presently assured me that it was a ghost. Had the good old man been murdered, and had his spirit come to tell me of the deed, and to confide to me the protection of his dear—? My heart fluttered but I felt that I must speak. "Sir," said I.

"Do you know," interrupted the figure, with a countenance that indicated anxiety, "whether or not Mr. Hinckman will return to-night?"

I thought it well to maintain a calm exterior, and I answered:

"We do not expect him."

"I am glad of that," said he, sinking into the chair by which he stood. "During the two years and a half that I have inhabited this house, that man has never before been away for a single night. You can't imagine the relief it gives me."

As he spoke, he stretched out his legs and leaned back in the chair. His form became less vague, and the colors of his garments more distinct and evident, while an expression of gratified relief succeeded to the anxiety of his countenance.

"Two years and a half!" I exclaimed. "I don't understand you."

"It is fully that length of time," said the ghost, "since I first came here. Mine is not an ordinary case."

* * *

The ghost smiled.

"I must admit, however," he said, "that I am seeking this position for a friend of mine, and I have reason to believe that he will obtain it."

"Good heavens!" I exclaimed. "Is it possible that this house is to he haunted by a ghost as soon as the old gentleman expires? Why should this family be tormented in such a horrible way? Everybody who dies does not have a ghost walking about his house."

"Oh, no!" said the spectre. "There are thousands of positions of the kind which are never applied for. But the ghostship here is a very desirable one, and there are many applicants for it. I think you will like my friend, if he gets it."

"Like him!" I groaned.

The idea was horrible to me.

The ghost evidently perceived how deeply I was affected by what he had said, for there was a compassionate expression on his countenance.

I drew my chair a little nearer to her, and as I did so the ghost burst into the room from the doorway behind her. I say burst, although no door flew open and he made no noise. He was wildly excited, and waved his arms above his head. The moment I saw him, my heart fell within me. With the entrance of that impertinent apparition, every hope fled from me. I could not speak while he was in the room.

I must have turned pale, and I gazed steadfastly at the ghost, almost without seeing Madeline, who sat between us.

"Do you know," he cried, "that John Hinckman is coming up the hill. He will be here in fifteen minutes, and if you are doing anything in the way of love-making, you had better hurry it up. But this is not what I came to tell you. I have glorious news! At last I am transferred! Not forty minutes ago a Russian nobleman as murdered by the Nihilists. Nobody ever thought of him in connection with an immediate ghostship. My friends instantly applied for the situation for me, and obtained my transfers."

Chapter

5

RIDDLE STORIES

Some Notable Riddle Stories

The Nature of the Riddle Story and Its Types

Riddle Stories, as we have chosen to designate them, are Mystery Stories concerned with a question and answer of absorbing interest, but one which in no way implies or includes the work of a detective, either professional or amateur. As a rule, Riddle Stories are not based upon a crime, but on some mysterious situation which is apparently inexplicable, but which turns out to have a most rational and logical explanation.

1. Some Notable Riddle Stories

"The Sending Of Dana Da," by Kipling, is one of the best stories of this type.

Here we have such a commonplace, ordinary medium as kittens, so employed as to make an unsolvable riddle:

When a man who hates cats wakes up in the morning and finds a little squirming kitten on his breast, or puts his hand into his ulster pocket and finds a little half-dead kitten where his gloves should be, or opens his trunk and finds a vile kitten among his dress shirts or goes for a long ride with his mackintosh strapped on his saddlebow and shakes a little sprawling kitten from its folds when he opens it, or goes out to dinner and finds a little blind kitten under his chair, or stays at home and finds a writhing kitten under the quilt, or wriggling among his boots, or hanging, head downward, in his tobacco jar, or being mangled by his terrier in the veranda—when such a man finds one kitten, neither more nor less, once a day in a place where no kitten rightly could or should be, he is naturally upset. When he dare not murder his daily trove because he believes it to be a manifestation, an emissary, an embodiment, and half a dozen other things all out of the regular course of nature, he is more than upset. He is actually distressed.

No one could know the truth until told and the explanation is entirely logical and satisfactory. Indeed, as the author says, finally: "Consider the gorgeous simplicity of it all."

A clever Riddle Story is one by Cleveland Moffett, entitled "The Mysterious Card."

In this story, a New Yorker, while in a Paris restaurant, is presented with a card by a charming and richly clad lady. The card bore some French words written in purple ink, but not knowing that language he was unable to make out their meaning.

He returned at once to his hotel to inquire concerning the message on the card.

In the words of the story:

Proceeding directly to the office and taking the manager aside, Burwell asked if he would be kind enough to translate a few words of French into English. There were no more than twenty words in all.

"Why, certainly," said the manager, with French politeness, and cast his eyes over the card. As he read, his face grew rigid with astonishment, and, looking at his questioner sharply, he exclaimed: "Where did you get this, monsieur?"

Burwell started to explain, but was interrupted by: "That will do, that will do. You must leave the hotel."

"What do you mean?" asked the man from New York, in amazement.

"You must leave the hotel now—to-night—without fail," commanded the manager, excitedly.

Now it was Burwell's turn to grow angry, and he declared heatedly that if he wasn't wanted in this hotel there were plenty of others in Paris where he would be welcome. And, with an assumption of dignity, but piqued at heart, he settled his bill, sent for his belongings, and drove up the Rue de la Paix to the Hotel Bellevue, where he spent the night. The next morning he met the proprietor, who seemed to be a good fellow, and, being inclined now to view the incident of the previous evening from its ridiculous side, Burwell explained what had befallen him, and was pleased to find a sympathetic listener.

"Why, the man was a fool," declared the proprietor. "Let me see the card; I will tell you what it means." But as he read, his face and manner changed instantly.

"This is a serious matter," he said sternly. "Now I understand why my confrère refused to entertain you. I regret, monsieur, but I shall be obliged to do as he did."

"What do you mean?"

"Simply that you cannot remain here."

With that he turned on his heel, and the indignant guest could not prevail upon him to give any explanation.

"We'll see about this," said Burwell, thoroughly angered.

The rest of the story is a succession of the hero's unfortunate experiences in endeavoring to solve the mystery of the card. He referred it to his dearest friend, to a detective agency, to the American Minister, and finally to his wife, but in every case the reader of the card turned from him in horror and dismay and refused to see or speak to him again. In the sequel to the story, called "The Mysterious Card Unveiled" the mystery is explained to the satisfaction of the reader.

Of course the best Riddle Story of its kind ever written is that masterpiece of Frank R. Stockton, "The Lady or The Tiger?" but this principle of leaving a question unanswered is not to be advised for any writer not possessing Stockton's peculiar genius.

As well as short-stories, there are many entire novels with a mystery interest but which are in no sense Detective Stories. "The Woman In White" is a good example. This book is said to have been the most popular serial story ever printed. On the publication day of the weekly in which the story was appearing in parts, the street in front of the office was thronged with people anxiously waiting for a new instalment of the adventures of Laura Fairleigh, Ann Catherick, the treacherous Baronet, and the diabolically fascinating Count Fosco.

The secret of Collins's power lies not in mere description but in suggestion. He excites us not by what he tells us but what he does not tell us. The compelling interest which holds the reader of "The Woman In White" is due less to the vivid description of dramatic incidents than to the artful suggestion of some impending fate.

2. The Nature of the Riddle Story and its Types

The distinguishing feature of the Riddle Story is that the reader should be confronted with a number of mysterious facts of which the explanation is reserved till the end. Now this reservation of the final solution, in order to pique the reader's curiosity, excite his ingenuity, and lead him on to an unexpected climax, is a quite legitimate artistic effect. The only question to be asked about it in any particular instance is whether it succeeds, whether the effect is really accomplished? And for its success two primary qualifications are necessary,—first, that the mystery should really be mysterious; second, that the explanation should really explain.

The Riddle Story, then, is based entirely on a puzzle whose solution is a clever trick of the author and usually not to be guessed by the reader. Unlike the Detective Story, there are no clues, either true or misleading. The reader goes swiftly from his first surprise to sustained wonder, and then to an intense and abiding curiosity that lasts until the solution is flashed upon him. The plot is meant to catch the reader napping, and seldom indeed is he wide awake enough to solve the riddle.

A distinct type of Riddle Story is that which describes a search for lost treasure. In so far as the searchers encounter mysterious conditions, or the reader is held in suspense concerning the meaning or outcome of the situations, in so far is the tale a Riddle Story. But to be a real Riddle Story, the mystery must be carefully built up, sustained and finally revealed with careful and coherent sequences.

Poe's story, "The Oblong Box," is one of the greatest Riddle Stories ever written. The mystery is seemingly inexplicable. The interest is intense and the conditions partake of all the elements of ghastliness and horror. The solution is unguessable but entirely logical, and Poe's inimitable workmanship makes the story a masterpiece of its kind.

Equally clever, in a totally different vein, is Kipling's "His Wedded Wife," and, different still, Aldrich's "Marjory Daw."

In both of these, the surprise is perfect, and so inherent a part of the plot, so skillfully and swiftly worked up, that all demands of the true Riddle Story are complied with.

In some Riddle Stories the interest is not in the unraveling of the web, but in the weaving of it. In De Quincey's "The Avenger" this is the case, and also in Bulwer's "A Strange Story." It is the strangeness of the story that captivates in these instances. The maze of mystery and hazard, and the confidence that it will all be made plain to us at last, provide sufficient charm to the lover of the Riddle Story. Crime and its detection have no part here, but mystery and paradox reign supreme.

Another sort of Riddle Story employs the cypher or cryptogram plot, but this is of such importance as to require a chapter to itself.

Poe's "Gold Bug" includes both the cryptogram and the buried treasure, and is of course the greatest story built upon either or both of these plots.

A novel by James DeMille is called "The Cryptogram," and the cypher is the main point of the story. But more often, cypher or secret writing is used as a side issue or a picturesque device in a stronger mystery plot.

Chapter

6

DETECTIVE STORIES

What Is a Detective Story

Rise of the Detective Story

The Detective—Fictive and Real

Fiction versus Fact

The Interest of the Detective Story

A Summing Up

1. What is a Detective Story

The class of fiction which we shall group under this head must include all stories where the problem is invented and solved by the author and set forth in such a way as to give an astute reader opportunities for guessing or reasoning out the answer.

An actual detective need not necessarily figure in the story, but detective work must be done by some of the characters.

There must be crime or apparent crime or attempted crime. But whether the problem is one of murder, robbery or kidnapping,—whether it be solved by evidence, deduction or a cryptogram,—it is detected, not guessed, and this is the main element in our classification.

The average or typical Detective Story of to-day is the detailed narrative of the proceedings of an individual of unusual mental acumen in unraveling a mystery.

Strictly speaking, a detective is a member of the police organization or of a private detective agency. But for fictional purposes he may be such, or he may be any one with what is called "detective instinct" or a taste for detective work.

It appears that in its earliest days the word "detective" meant merely a shadower or follower.

A curious old story in Harper's Magazine for 1870 begins thus:

The remarkable skill and penetration shown by our modern detectives in "shadowing" suspected persons until sufficient proof has been obtained to warrant their arrest is illustrated by the daily history of crime. By the term "shadowing" is meant that vigilant watch kept upon the culprit by some one who follows him like his own shadow, and to do this successfully indicates no small degree of skill on the part of the "detective." This last expression recalls to memory some strange facts which came to my knowledge in the early part of my life, and I can never meet the term in print or hear it in conversation without a painful reminiscence.

The story goes on to relate the harrowing experiences of a criminal who was shadowed by the ghost of his victim, and ends thus:

Such is the story in connection with the first use of the term "detective," and I never meet it, either in voice or in print, without thinking of Captain Walton, and the fearful retribution unfolded in his history.

But this old story is not a Detective Story according to our classification, it is a simple Ghost Story. It is only of interest in referring to the earliest use of our word "detective."