The Great English Short-Story Writers, Volume 1

So much for our contention that the laws and technique of the prose short-story, as formulated by Poe, were first instinctively discovered and worked out in the medium of poetry.

VI

"The Golden Ass of Apuleius is, so to say, a beginning of modern literature. From this brilliant medley of reality and romance, of wit and pathos, of fantasy and observation, was born that new art, complex in thought, various in expression, which gives a semblance of frigidity to perfection itself. An indefatigable youthfulness is its distinction."[12 - From the introduction, by Charles Whibley, to the Tudor Translations' edition by W.E. Henley, of The Golden Ass of Apuleius, published by David Nutt, London, 1893. All other quotations bearing upon Apuleius are taken from the same source.]

An indefatigable youthfulness was also the prime distinction of the Elizabethan era's writings and doings; it was fitting that such a period should have witnessed the first translation into the English language of this Benjamin of a classic literature's old age.

Apuleius was an unconventional cosmopolitan in that ancient world which he so vividly portrays; he was a barbarian by birth, a Greek by education, and wrote his book in the Romans' language. In his use of luminous slang for literary purposes he was Rudyard Kipling's prototype.

"He would twist the vulgar words of every-day into quaint unheard-of meanings, nor did he deny shelter to those loafers and footpads of speech which inspire the grammarian with horror. On every page you encounter a proverb, a catchword, a literary allusion, a flagrant redundancy. One quality only was distasteful to him – the commonplace."

There are other respects in which we can trace Mr. Kipling's likeness: in his youthful precocity – he was twenty-five when he wrote his Metamorphoses; in his daring as an innovator; in his manly stalwartness in dealing with the calamities of life; in his adventurous note of world-wideness and realistic method of handling the improbable and uncanny.

Like all great artists, he was a skilful borrower from the literary achievements of a bygone age; and so successfully does he borrow that we prefer his copy to the original. The germ-idea of Kipling's Finest Story in the World is to be found in Poe's Tale of the Ragged Mountains; Apuleius's germ-plot, of the man who was changed by enchantment into an ass, and could only recover his human shape by eating rose-leaves, was taken either from Lucian or from Lucius of Patrae. In at least three of his interpolations he remarkably foreshadows the prose short-story method, upon which we are wont to pride ourselves as being a unique discovery of the past eight decades: these are Bellepheron's Story; The Story of Cupid and Psyche, one of the most exquisite both in form and matter in any language or age; and the story of The Deceitful Woman and the Tub, which Boccaccio made use of in his Decameron as the second novel for the seventh day.

In the intense and visual quality of the atmosphere with which he pervades his narrative he has no equal among the writers of English prose-fiction until Sir Walter Scott appears. "Apuleius has enveloped his world of marvels in a heavy air of witchery and romance. You wander with Lucius across the hills and through the dales of Thessaly. With all the delight of a fresh curiosity you approach its far-seen towns. You journey at midnight under the stars, listening in terror for the howling of the wolves or the stealthy ambush. At other whiles you sit in the robbers' cave and hear the ancient legends of Greece retold. The spring comes on, and 'the little birds chirp and sing their steven melodiously.' Secret raids, ravished brides, valiant rescues, the gayest intrigues – these are the diverse matters of this many-colored book."

But as a short-story writer he shares the failing of all his English brothers in that art, until James Hogg, the Ettrick Shepherd, penned his tales – namely, that his short-stories do not stand apart, as things total in themselves, but are woven into a larger narrative by whose proportions they are dwarfed, so that their true completeness is disguised. "He cares not how he loiters by the way; he is always ready to beguile his reader with a Milesian story – one of those quaint and witty interludes which have travelled the world over and become part, not merely of every literature, but of every life." It is to three of these chance loiterings of this Kipling of Rome in its decadence that we owe the famous stories alluded to above.

To the Elizabethan period belong the most masterly translations of which the English language is possessed; and this not by virtue of their accuracy and scholarship, but because, to use Doctor Johnson's words, the translator "exhibits his author's thoughts in such a dress as the author would have given them had his language been English." That same "indefatigable youthfulness" which converted courtiers into sailors and despatched them into unknown seas to ransack new worlds, urged men of the pen to seek out and to pillage, with an equal ardor of adventure, the intellectual wealth of their contemporaries in other lands and the buried and forgotten stores of the ancients upon their own neighboring book-shelves. A universal and contagious curiosity was abroad. To this age belong William Paynter's version of the Decameron, entitled The Palace of Pleasure, 1566, from which Shakespeare borrowed; Geoffrey Fenton's translation of Bandello's Tragical Discourses, 1567; Sir Thomas North's rendering of Plutarch's Lives, 1579; Thomas Underdowne's Heliodorus, 1587; Thomas Shelton's Don Quixote, 1612; and others too numerous to mention. It seems extraordinary at first sight that when such models of advanced technique were set before them, Englishmen were so slow to follow; for though Professor Baldwin is probably correct in his analysis of the Decameron when he states that, of the hundred tales, over fifty are not much more than anecdotes, about forty are but outlined plots, three follow the modern short-story method only part way, and, of the hundred, two[13 - The second novel of the second day, and the sixth of the ninth day.] alone are perfect examples, yet those two perfect examples remained and were capable of imitation. The explanation of this neglect is, perhaps, that the Elizabethans were too busy originating to find time for copying; they were very willing to borrow ideas, but must be allowed to develop them in their own way – usually along dramatic lines for stage purposes, because this was at that time the most financially profitable.

VII

The blighting influence of constitutional strife and intestine war which followed in the Stuarts' reigns turned the serious artist's thoughts aside to grave and prophetic forms of literary utterance, while writers of the frivolous sort devoted their talent to a lighter and less sincere art than that of the short-story – namely, court-poetry. It was an age of extremes which bred despair and religious fervor in men of the Puritan party, as represented by Bunyan and Milton, and conscious artificiality and mock heroics in those of the Cavalier faction, as represented by Herrick and the Earl of Rochester.

The examples of semi-fictional prose which can be gathered from this period serve only to illustrate how the short-story instinct, though stifled, was still present. Isaak Walton as a diarist had it; Thomas Fuller as an historian had it; John Bunyan as an ethical writer had it. Each one was possessed of the short-story faculty, but only manifested it, as it were, by accident. Not until Daniel Defoe and the rise of the newspaper do we note any advance in technique. Defoe's main contribution was the short-story essay, which stands midway between the anecdote, or germ-plot, buried in a mass of extraneous material, and the short-story proper. The growth of this form, as developed by Swift, Steel, Addison, Goldsmith, and Lamb, has been traced and criticised elsewhere.[14 - In the third chapter of The Great English Essayists, vol. iii of The Reader's Library, published by Messrs. Harper & Brothers, 1909.] It had this one great advantage that, whatever its departures from the strict technique of the modern short-story, it was capable of being read at one sitting, stood by itself, and gained "the immense force derivable from totality."

In the True Revelation of the Apparition of One Mrs. Veal, Defoe is again strangely in advance of his time, as he is in so many other ways. Here is an almost perfect example of the most modern method of handling a ghost-tale. Surely, in whatever department of literature we seek, we shall find nothing to surpass it in the quality of verisimilitude. The way in which Drelincourt's Book on Death is introduced and subsequently twice referred to is a master-stroke of genius. In days gone by, before they were parted, we are told, Mrs. Veal and Mrs. Bargrave "would often console each other's adverse fortunes, and read together Drelincourt On Death and other good books." At the time when the story opens Mrs. Bargrave has gone to live in Canterbury, and Mrs. Veal is in Dover. To Mrs. Bargrave in Canterbury the apparition appears, though she does not know that it is an apparition, for there is nothing to denote that it is not her old friend still alive. One of the first things the apparition does is "to remind Mrs. Bargrave of the many friendly offices she did her in former days, and much of the conversation they had with each other in the times of their adversity; what books they read, and what comfort in particular they received from Drelincourt's Book on Death. Drelincourt, she said, had the clearest notions of death and of the future state of any who had handled that subject. Then she asked Mrs. Bargrave whether she had Drelincourt. She said, 'Yes,' Says Mrs. Veal, 'Fetch it.' Some days after, when Mrs. Bargrave, having discovered that the visitor was a ghost, has gone about telling her neighbors, Defoe observes, 'Drelincourt's Book on Death is, since this happened, bought up strangely,'"

This masterpiece of Defoe is before its time by a hundred years; nothing can be found in the realm of the English prose short-story to approach it in symmetry until the Ettrick Shepherd commenced to write.

Of all the models of prose-fiction which the Tudor translations had given to English literature, the first to be copied was that of Cervantes's Don Quixote, rendered into English by Thomas Shelton in 1612. Swift must have had the rambling method of Cervantes well in mind when he wrote his Gulliver; and Smollett confessedly took it as his pattern and set out to imitate. The most that was required by such a method in the way of initial construction was to select a hero, give some account of his early history, from the day of his birth up to the point where the true narrative commences, and then send him upon his travels. Usually it was thought necessary to have a Sancho to act as background to Don Quixote; thus Crusoe is given his Man Friday, Tom Jones his Mr. Partridge, and Roderick Random his Strap; but this was not always done, for both Gulliver and the hero of the Sentimental Journey set out on their journeyings unaccompanied. The story which grew out of such a method usually consisted of a series of plots, anecdotes, and incidents linked together only by the characters, and governed by no unifying purpose which made each one a necessary and ascending step toward a prearranged climax. These early novels are often books of descriptive travel rather than novels in the modern sense; the sole connection between their first incident and their last being the long road which lies between them, and has been traversed in the continual company of the same leading characters. Many of the chapters, taken apart from their context, are short-story themes badly handled. Some of them are mere interpolations introduced on the flimsiest of excuses, which arrest the progress of the main narrative —i. e., the travel – and give the author an opportunity to use up some spare material which he does not know what to do with. Such are "The Man of the Hill," in Tom Jones; "The History of Melopoyn the Playwright" in Roderick Random; the "Memoirs of a Lady of Quality," occupying fifty-three thousand words, in Peregrine Pickle; "The Philosophic Vagabond," in the Vicar of Wakefield; and "Wandering Willie's Tale," in Redgauntlet. The reason why the eighteenth-century novelist did not know what to do with these materials was, in certain cases, that he had discovered a true short-story theme and was perplexed by it. He knew that it was good – his artist's instinct made him aware of that; but somehow, to his great bewilderment and annoyance, it refused to be expanded. So, in order that it might not be entirely lost to him, he tied the little boat on behind the great schooner of his main narration, and set them afloat together.

By the modern reader, whether of the short-story or the novel, the lack of atmosphere and of immediateness in eighteenth-century prose-fiction is particularly felt. There is no use made of landscapes, moods, and the phenomena of nature; the story happens at almost any season of the year. Of these things and their use the modern short-story writer is meticulously careful. By how much would the worth of Hardy's The Three Strangers be diminished if the description of the March rain driving across the Wessex moorland were left out? Before he commences the story contained in A Lodging for the Night, Stevenson occupies three hundred words in painting the picture of Paris under snow. In the same way, in his story of The Man Who Would Be King, Kipling is at great pains to make us burn with the scorching heat which, in the popular mind, is associated with India. For such effects you will search the prose-fiction of the eighteenth century in vain; whereas the use of atmosphere has been carried to such extremes to-day by certain writers that the short-story in their hands is in danger of becoming all atmosphere and no story.

The impression created by the old technique, such as it was, when contrasted with the new, when legitimately handled, is the difference between reading a play and seeing it staged.

As regards immediateness of narration, Laurence Sterne may, perhaps, be pointed out as an example. But he is not immediate in the true sense; he is abrupt, and this too frequently for his own sly purposes – which have nothing to do with either technique or the short-story.

Most of the English short-stories, previous to those written by James Hogg, are either prefaced with a biography of their main characters or else the biography is made to do service as though it were a plot – nothing is left to the imagination. Even in the next century, when the short-story had come to be recognized in America, through the example set by Hawthorne and Poe, as a distinct species of literary art, the productions of British writers were too often nothing more than compressed novels. In fact, it is true to say that there is more of short-story technique in the short-story essays of Goldsmith and Lamb than can be found in many of the brief tales of Dickens and Anthony Trollope, which in their day passed muster unchallenged as short-stories.

VIII

But between the irrelevant brief story, interpolated in a larger narrative, and the perfect short-story, which could not be expanded and is total in itself, of Hawthorne and Poe, there stands the work of a man who is little known in America, and by no means popular in England, that of the Ettrick Shepherd, James Hogg. He was born in Scotland, among the mountains of Ettrick and Yarrow, the son of a shepherd. When he was but six years old he commenced to earn his living as a cowherd, and by his seventh year had received all the schooling which he was destined to have – two separate periods of three months. Matthew Arnold, when accounting for the sterility of Gray as a poet, says that throughout the first nine decades of the eighteenth century, until the French Revolution roused men to generosity, "a spiritual east wind was blowing." Hogg's early ignorance of letters had at least this advantage, that it saved him from the blighting intellectual influences of his age – left him unsophisticated, free to find in all things matter for wonder, and to work out his mental processes unprejudiced by a restraining knowledge of other men's past achievements. In his eighteenth year he taught himself to read, choosing as his text-books Henry the Minstrel's Life and Adventures of Sir William Wallace and the Gentle Shepherd of Allan Ramsay. Not until his twenty-sixth year did he acquire the art of penmanship, which he learned "upon the hillside by copying the Italian alphabet, using his knee as his desk, and having the ink-bottle suspended from his button." During the next fourteen years he followed his shepherd's calling, making it romantic with sundry more or less successful attempts at authorship. He had reached his fortieth year before he abandoned sheep-raising and journeyed to Edinburgh, there definitely to adopt the literary career. He was by this time firm in his philosophy of life and established in his modes of thought; whatever else he might not be, among townsmen and persons of artificial training, his very simplicity was sure to make him original. In his forty-seventh year, having so far cast his most important work into the poetic form, he contributed to Blackwood's Magazine his Shepherd's Calendar, followed in the same year by the publishing of The Brownie of Bodsbeck; these were his first two serious excursions into the realm of prose-fiction. From then on until his death, in 1835, he continued his efforts in this direction, pouring out a mass of country-side tradition and fairy-folklore, amazing in its fantasy and wealth of drama.

For the imparting of atmosphere to his stories, a talent so conspicuously lacking not only in his predecessors, but also in many of his contemporaries, he had a native faculty. The author of Bonny Kilmeny could scarcely fail in this respect, when he turned his attention from poetry to prose. He had lived too close to nature to be able ever to keep the green and silver of woods and rivers far from his thoughts; they were the mirrors in which his fancy saw itself. Professor Wilson, who had known him as a friend, writing of him in Blackwood's after his death, says: "Living for years in solitude, he unconsciously formed friendships with the springs, the brooks, the caves, the hills, and with all the more fleeting and faithless pageantry of the sky, that to him came in place of those human affections from whose indulgence he was debarred by the necessities that kept him aloof from the cottage fire and up among the mists of the mountain-top. The still green beauty of the pastoral hills and vales where he passed his youth inspired him with ever-brooding visions of fairyland, till, as he lay musing in his lonely shieling, the world of fantasy seemed, in the clear depths of his imagination, a lovelier reflection of that of nature, like the hills and heavens more softly shining in the water of his native lake."

His taste is often defective, as is that of Burns on occasions. This is a fault which might be expected in a man of his training; but the vigor and essential worth of the matters which he relates are beyond all question. He did not always know where to begin his short-story, or where to terminate. Some of his tales, if edited with blue-pencil erasures, would be found to contain a nucleus-technique which, though far from perfect, is more than equal to that of Washington Irving, who, like Apuleius, "cared not how he loitered by the way," and very superior to that of most of his immediate successors in the art. His story here included, of The Mysterious Bride,[15 - Compare with Kipling's treatment of a similar theme in The Brushwood Boy.] could scarcely be bettered in its method. To tell it in fewer words would be to obscure it; to tell it at greater length would be to rob it of its mystery and to make it obvious. Moreover, by employing atmosphere he tells it in such a way as to leave the reader with the impression that this occurrence, for all its magic, might not only be possible, but even probable – which achievement is the greatest triumph of the short-story writer's art.

As this history of the evolution of the English short-story commenced with a poet, Chaucer,[16 - The Gesta Romanorum was written in Latin.] who wrote all save two of his short-stories in poetry, so it fittingly closes with a poet, the Ettrick Shepherd, who wrote most of his short-stories in prose. It remained for yet another poet, Edgar Allan Poe, who may never have heard the name or have read a line from the writings of James Hogg, to bring to perfection the task on which he had spent his labor.

THE APPARITION OF MRS. VEAL

Daniel Defoe (1661-1731)

This thing is so rare in all its circumstances, and on so good authority, that my reading and conversation have not given me anything like it. It is fit to gratify the most ingenious and serious inquirer. Mrs. Bargrave is the person to whom Mrs. Veal appeared after her death; she is my intimate friend, and I can avouch for her reputation for these fifteen or sixteen years, on my own knowledge; and I can confirm the good character she had from her youth to the time of my acquaintance. Though, since this relation, she is calumniated by some people that are friends to the brother of Mrs. Veal who appeared, who think the relation of this appearance to be a reflection, and endeavor what they can to blast Mrs. Bargrave's reputation and to laugh the story out of countenance. But by the circumstances thereof, and the cheerful disposition of Mrs. Bargrave, notwithstanding the ill usage of a very wicked husband, there is not yet the least sign of dejection in her face; nor did I ever hear her let fall a desponding or murmuring expression; nay, not when actually under her husband's barbarity, which I have been a witness to, and several other persons of undoubted reputation.

Now you must know Mrs. Veal was a maiden gentlewoman of about thirty years of age, and for some years past had been troubled with fits, which were perceived coming on her by her going off from her discourse very abruptly to some impertinence. She was maintained by an only brother, and kept his house in Dover. She was a very pious woman, and her brother a very sober man to all appearance; but now he does all he can to null and quash the story. Mrs. Veal was intimately acquainted with Mrs. Bargrave from her childhood. Mrs. Veal's circumstances were then mean; her father did not take care of his children as he ought, so that they were exposed to hardships. And Mrs. Bargrave in those days had as unkind a father, though she wanted neither for food nor clothing; while Mrs. Veal wanted for both, insomuch that she would often say, "Mrs. Bargrave, you are not only the best, but the only friend I have in the world; and no circumstance of life shall ever dissolve my friendship." They would often condole each other's adverse fortunes, and read together Drelincourt upon Death, and other good books; and so, like two Christian friends, they comforted each other under their sorrow.

Some time after, Mr. Veal's friends got him a place in the custom-house at Dover, which occasioned Mrs. Veal, by little and little, to fall off from her intimacy with Mrs. Bargrave, though there was never any such thing as a quarrel; but an indifferency came on by degrees, till at last Mrs. Bargrave had not seen her in two years and a half, though above a twelvemonth of the time Mrs. Bargrave hath been absent from Dover, and this last half-year has been in Canterbury about two months of the time, dwelling in a house of her own.

In this house, on the eighth of September, one thousand seven hundred and five, she was sitting alone in the forenoon, thinking over her unfortunate life, and arguing herself into a due resignation to Providence, though her condition seemed hard: "And," said she, "I have been provided for hitherto, and doubt not but I shall be still, and am well satisfied that my afflictions shall end when it is most fit for me." And then took up her sewing work, which she had no sooner done but she hears a knocking at the door; she went to see who was there, and this proved to be Mrs. Veal, her old friend, who was in a riding-habit. At that moment of time the clock struck twelve at noon.

"Madam," says Mrs. Bargrave, "I am surprised to see you, you have been so long a stranger"; but told her she was glad to see her, and offered to salute her, which Mrs. Veal complied with, till their lips almost touched, and then Mrs. Veal drew her hand across her own eyes, and said, "I am not very well," and so waived it. She told Mrs. Bargrave she was going a journey, and had a great mind to see her first. "But," says Mrs. Bargrave, "how can you take a journey alone? I am amazed at it, because I know you have a fond brother." "Oh," says Mrs. Veal, "I gave my brother the slip, and came away, because I had so great a desire to see you before I took my journey." So Mrs. Bargrave went in with her into another room within the first, and Mrs. Veal sat her down in an elbow-chair, in which Mrs. Bargrave was sitting when she heard Mrs. Veal knock. "Then," says Mrs. Veal, "my dear friend, I am come to renew our old friendship again, and beg your pardon for my breach of it; and if you can forgive me, you are the best of women." "Oh," says Mrs. Bargrave, "do not mention such a thing; I have not had an uneasy thought about it." "What did you think of me?" says Mrs. Veal. Says Mrs. Bargrave, "I thought you were like the rest of the world, and that prosperity had made you forget yourself and me." Then Mrs. Veal reminded Mrs. Bargrave of the many friendly offices she did her in former days, and much of the conversation they had with each other in the times of their adversity; what books they read, and what comfort in particular they received from Drelincourt's Book of Death, which was the best, she said, on the subject ever wrote. She also mentioned Doctor Sherlock, and two Dutch books, which were translated, wrote upon death, and several others. But Drelincourt, she said, had the clearest notions of death and of the future state of any who had handled that subject. Then she asked Mrs. Bargrave whether she had Drelincourt. She said, "Yes." Says Mrs. Veal, "Fetch it." And so Mrs. Bargrave goes up-stairs and brings it down. Says Mrs. Veal, "Dear Mrs. Bargrave, if the eyes of our faith were as open as the eyes of our body, we should see numbers of angels about us for our guard. The notions we have of Heaven now are nothing like what it is, as Drelincourt says; therefore be comforted under your afflictions, and believe that the Almighty has a particular regard to you, and that your afflictions are marks of God's favor; and when they have done the business they are sent for, they shall be removed from you. And believe me, my dear friend, believe what I say to you, one minute of future happiness will infinitely reward you for all your sufferings. For I can never believe" (and claps her hand upon her knee with great earnestness, which, indeed, ran through most of her discourse) "that ever God will suffer you to spend all your days in this afflicted state. But be assured that your afflictions shall leave you, or you them, in a short time." She spake in that pathetical and heavenly manner that Mrs. Bargrave wept several times, she was so deeply affected with it.

Then Mrs. Veal mentioned Doctor Kendrick's Ascetic, at the end of which he gives an account of the lives of the primitive Christians. Their pattern she recommended to our imitation, and said, "Their conversation was not like this of our age. For now," says she, "there is nothing but vain, frothy discourse, which is far different from theirs. Theirs was to edification, and to build one another up in faith, so that they were not as we are, nor are we as they were. But," said she, "we ought to do as they did; there was a hearty friendship among them; but where is it now to be found?" Says Mrs. Bargrave, "It is hard indeed to find a true friend in these days." Says Mrs. Veal, "Mr. Norris has a fine copy of verses, called Friendship in Perfection, which I wonderfully admire. Have you seen the book?" says Mrs. Veal. "No," says Mrs. Bargrave, "but I have the verses of my own writing out." "Have you?" says Mrs. Veal; "then fetch them"; which she did from above stairs, and offered them to Mrs. Veal to read, who refused, and waived the thing, saying, "holding down her head would make it ache"; and then desiring Mrs. Bargrave to read them to her, which she did. As they were admiring Friendship, Mrs. Veal said, "Dear Mrs. Bargrave, I shall love you forever." In these verses there is twice used the word "Elysian." "Ah!" says Mrs. Veal, "these poets have such names for Heaven." She would often draw her hand across her own eyes, and say, "Mrs. Bargrave, do not you think I am mightily impaired by my fits?" "No," says Mrs. Bargrave; "I think you look as well as ever I knew you."

After this discourse, which the apparition put in much finer words than Mrs. Bargrave said she could pretend to, and as much more than she can remember – for it cannot be thought that an hour and three quarters' conversation could all be retained, though the main of it she thinks she does – she said to Mrs. Bargrave she would have her write a letter to her brother, and tell him she would have him give rings to such and such; and that there was a purse of gold in her cabinet, and that she would have two broad pieces given to her cousin Watson.

Talking at this rate, Mrs. Bargrave thought that a fit was coming upon her, and so placed herself on a chair just before her knees, to keep her from falling to the ground, if her fits should occasion it; for the elbow-chair, she thought, would keep her from falling on either side. And to divert Mrs. Veal, as she thought, took hold of her gown-sleeve several times, and commended it. Mrs. Veal told her it was a scoured silk, and newly made up. But, for all this, Mrs. Veal persisted in her request, and told Mrs. Bargrave she must not deny her. And she would have her tell her brother all their conversation when she had the opportunity. "Dear Mrs. Veal," says Mrs. Bargrave, "this seems so impertinent that I cannot tell how to comply with it; and what a mortifying story will our conversation be to a young gentleman. Why," says Mrs. Bargrave, "it is much better, methinks, to do it yourself." "No," says Mrs. Veal; "though it seems impertinent to you now, you will see more reasons for it hereafter." Mrs. Bargrave, then, to satisfy her importunity, was going to fetch a pen and ink, but Mrs. Veal said, "Let it alone now, but do it when I am gone; but you must be sure to do it"; which was one of the last things she enjoined her at parting, and so she promised her.

Then Mrs. Veal asked for Mrs. Bargrave's daughter. She said she was not at home. "But if you have a mind to see her," says Mrs. Bargrave, "I'll send for her." "Do," says Mrs. Veal; on which she left her, and went to a neighbor's to see her; and by the time Mrs. Bargrave was returning, Mrs. Veal was got without the door in the street, in the face of the beast-market, on a Saturday (which is market-day), and stood ready to part as soon as Mrs. Bargrave came to her. She asked her why she was in such haste. She said she must be going, though perhaps she might not go her journey till Monday; and told Mrs. Bargrave she hoped she should see her again at her cousin Watson's before she went whither she was going. Then she said she would take her leave of her, and walked from Mrs. Bargrave, in her view, till a turning interrupted the sight of her, which was three-quarters after one in the afternoon.

Mrs. Veal died the seventh of September, at twelve o'clock at noon, of her fits, and had not above four hours' senses before her death, in which time she received the sacrament. The next day after Mrs. Veal's appearance, being Sunday, Mrs. Bargrave was mightily indisposed with a cold and sore throat, that she could not go out that day; but on Monday morning she sends a person to Captain Watson's to know if Mrs. Veal was there. They wondered at Mrs. Bargrave's inquiry, and sent her word she was not there, nor was expected. At this answer, Mrs. Bargrave told the maid she had certainly mistook the name or made some blunder. And though she was ill, she put on her hood and went herself to Captain Watson's, though she knew none of the family, to see if Mrs. Veal was there or not. They said they wondered at her asking, for that she had not been in town; they were sure, if she had, she would have been there. Says Mrs. Bargrave, "I am sure she was with me on Saturday almost two hours." They said it was impossible, for they must have seen her if she had. In comes Captain Watson, while they were in dispute, and said that Mrs. Veal was certainly dead, and the escutcheons were making. This strangely surprised Mrs. Bargrave, when she sent to the person immediately who had the care of them, and found it true. Then she related the whole story to Captain Watson's family; and what gown she had on, and how striped; and that Mrs. Veal told her that it was scoured. Then Mrs. Watson cried out, "You have seen her indeed, for none knew but Mrs. Veal and myself that the gown was scoured." And Mrs. Watson owned that she described the gown exactly; "for," said she, "I helped her to make it up." This Mrs. Watson blazed all about the town, and avouched the demonstration of truth of Mrs. Bargrave's seeing Mrs. Veal's apparition. And Captain Watson carried two gentlemen immediately to Mrs. Bargrave's house to hear the relation from her own mouth. And when it spread so fast that gentlemen and persons of quality, the judicious and sceptical part of the world, flocked in upon her, it at last became such a task that she was forced to go out of the way; for they were in general extremely satisfied of the truth of the thing, and plainly saw that Mrs. Bargrave was no hypochondriac, for she always appears with such a cheerful air and pleasing mien that she has gained the favor and esteem of all the gentry, and it is thought a great favor if they can but get the relation from her own mouth. I should have told you before that Mrs. Veal told Mrs. Bargrave that her sister and brother-in-law were just come down from London to see her. Says Mrs. Bargrave, "How came you to order matters so strangely?" "It could not be helped," said Mrs. Veal. And her brother and sister did come to see her, and entered the town of Dover just as Mrs. Veal was expiring. Mrs. Bargrave asked her whether she would drink some tea. Says Mrs. Veal, "I do not care if I do; but I'll warrant you this mad fellow" – meaning Mrs. Bargrave's husband – "has broke all your trinkets." "But," says Mrs. Bargrave, "I'll get something to drink in for all that"; but Mrs. Veal waived it, and said, "It is no matter; let it alone"; and so it passed.

All the time I sat with Mrs. Bargrave, which was some hours, she recollected fresh sayings of Mrs. Veal. And one material thing more she told Mrs. Bargrave, that old Mr. Bretton allowed Mrs. Veal ten pounds a year, which was a secret, and unknown to Mrs. Bargrave till Mrs. Veal told her.

Mrs. Bargrave never varies in her story, which puzzles those who doubt of the truth, or are unwilling to believe it. A servant in the neighbor's yard adjoining to Mrs. Bargrave's house heard her talking to somebody an hour of the time Mrs. Veal was with her. Mrs. Bargrave went out to her next neighbor's the very moment she parted with Mrs. Veal, and told her what ravishing conversation she had had with an old friend, and told the whole of it. Drelincourt's Book of Death is, since this happened, bought up strangely. And it is to be observed that, notwithstanding all the trouble and fatigue Mrs. Bargrave has undergone upon this account, she never took the value of a farthing, nor suffered her daughter to take anything of anybody, and therefore can have no interest in telling the story.

But Mr. Veal does what he can to stifle the matter, and said he would see Mrs. Bargrave; but yet it is certain matter of fact that he has been at Captain Watson's since the death of his sister, and yet never went near Mrs. Bargrave; and some of his friends report her to be a liar, and that she knew of Mr. Bretton's ten pounds a year. But the person who pretends to say so has the reputation to be a notorious liar among persons whom I know to be of undoubted credit. Now, Mr. Veal is more of a gentleman than to say she lies, but says a bad husband has crazed her; but she needs only present herself, and it will effectually confute that pretence. Mr. Veal says he asked his sister on her death-bed whether she had a mind to dispose of anything. And she said no. Now the things which Mrs. Veal's apparition would have disposed of were so trifling, and nothing of justice aimed at in the disposal, that the design of it appears to me to be only in order to make Mrs. Bargrave satisfy the world of the reality thereof as to what she had seen and heard, and to secure her reputation among the reasonable and understanding part of mankind. And then, again, Mr. Veal owns that there was a purse of gold; but it was not found in her cabinet, but in a comb-box. This looks improbable; for that Mrs. Watson owned that Mrs. Veal was so very careful of the key of her cabinet that she would trust nobody with it; and if so, no doubt she would not trust her gold out of it. And Mrs. Veal's often drawing her hands over her eyes, and asking Mrs. Bargrave whether her fits had not impaired her, looks to me as if she did it on purpose to remind Mrs. Bargrave of her fits, to prepare her not to think it strange that she should put her upon writing to her brother, to dispose of rings and gold, which look so much like a dying person's request; and it took accordingly with Mrs. Bargrave as the effect of her fits coming upon her, and was one of the many instances of her wonderful love to her and care of her, that she should not be affrighted, which, indeed, appears in her whole management, particularly in her coming to her in the daytime, waiving the salutation, and when she was alone; and then the manner of her parting, to prevent a second attempt to salute her.

Now, why Mr. Veal should think this relation a reflection – as it is plain he does, by his endeavoring to stifle it – I cannot imagine; because the generality believe her to be a good spirit, her discourse was so heavenly. Her two great errands were, to comfort Mrs. Bargrave in her affliction, and to ask her forgiveness for her breach of friendship, and with a pious discourse to encourage her. So that, after all, to suppose that Mrs. Bargrave could hatch such an invention as this, from Friday noon to Saturday noon – supposing that she knew of Mrs. Veal's death the very first moment – without jumbling circumstances, and without any interest, too, she must be more witty, fortunate, and wicked, too, than any indifferent person, I dare say, will allow. I asked Mrs. Bargrave several times if she was sure she felt the gown. She answered, modestly, "If my senses be to be relied on, I am sure of it." I asked her if she heard a sound when she clapped her hand upon her knee. She said she did not remember she did, but said she appeared to be as much a substance as I did who talked with her. "And I may," said she, "be as soon persuaded that your apparition is talking to me now as that I did not really see her; for I was under no manner of fear, and received her as a friend, and parted with her as such. I would not," says she, "give one farthing to make any one believe it; I have no interest in it; nothing but trouble is entailed upon me for a long time, for aught I know; and, had it not come to light by accident, it would never have been made public." But now she says she will make her own private use of it, and keep herself out of the way as much as she can; and so she has done since. She says she had a gentleman who came thirty miles to her to hear the relation; and that she had told it to a roomful of people at the time. Several particular gentlemen have had the story from Mrs. Bargrave's own mouth.

This thing has very much affected me, and I am as well satisfied as I am of the best-grounded matter of fact. And why we should dispute matter of fact, because we cannot solve things of which we can have no certain or demonstrative notions, seems strange to me; Mrs. Bargrave's authority and sincerity alone would have been undoubted in any other case.

THE MYSTERIOUS BRIDE[17 - From Tales and Sketches, by the Ettrick Shepherd.]

James Hogg (1770-1835)

A great number of people nowadays are beginning broadly to insinuate that there are no such things as ghosts, or spiritual beings visible to mortal sight. Even Sir Walter Scott is turned renegade, and, with his stories made up of half-and-half, like Nathaniel Gow's toddy, is trying to throw cold water on the most certain, though most impalpable, phenomena of human nature. The bodies are daft. Heaven mend their wits! Before they had ventured to assert such things, I wish they had been where I have often been; or, in particular, where the Laird of Birkendelly was on St. Lawrence's Eve, in the year 1777, and sundry times subsequent to that.

Be it known, then, to every reader of this relation of facts that happened in my own remembrance that the road from Birkendelly to the great muckle village of Balmawhapple (commonly called the muckle town, in opposition to the little town that stood on the other side of the burn) – that road, I say, lay between two thorn-hedges, so well kept by the Laird's hedger, so close, and so high, that a rabbit could not have escaped from the highway into any of the adjoining fields. Along this road was the Laird riding on the Eve of St. Lawrence, in a careless, indifferent manner, with his hat to one side, and his cane dancing a hornpipe before him. He was, moreover, chanting a song to himself, and I have heard people tell what song it was too. There was once a certain, or rather uncertain, bard, ycleped Robert Burns, who made a number of good songs; but this that the Laird sang was an amorous song of great antiquity, which, like all the said bard's best songs, was sung one hundred and fifty years before he was born. It began thus:

"I am the Laird of Windy-wa's,
I cam nae here without a cause,
An' I hae gotten forty fa's
In coming o'er the knowe, joe.
The night it is baith wind and weet;
The morn it will be snaw and sleet;