"Whereupon being much affrighted, I fell into an extream sweat . . . "

{Photo by rocketlass.}

Tonight we'll visit with a few spirits from the fairly distant past, before the fell hands of rationality and scientific exploration began to blight their hidden precincts.

First, a couple of folk tales from the late medieval period that feature ghosts offering comfort to the bereaved that is questionable at best. Here's how Johan Huizinga relates them in his The Autumn of the Middle Ages (1921, translated by Rodney J. Payton and Ulrich Mammitzsch in 1996):

Martial d'Auvergne in his danse macabre of women has the little girl call out to her mother, take care of my doll, my dice, and my beautiful dress! The touching accents of childhood are extraordinarily rare in the literature of the late Middle Ages. . . . When Antoine de la Salle in "Le Reconfort" seeks to comfort a noblewoman over the loss of her little son, he knows no better way to do so than to tell the story of a boy who lost his young life in an even more cruel way; he died as a hostage. He has nothing to offer her to allay her pain other than the lesson of not attaching onself to anything earthly, but then continues with that story we know as the fairy tale of the death shroud. The tale of the dead child who comes to its mother and begs her not to cry anymore in order that its shroud might dry. And here is suddenly a much more tender single note than is heard in the memento mori that is sung with a thousand notes.

Then, to our beloved John Aubrey, whose ever-rewarding Miscellaneous Notes on Various Subjects (1696) includes a whole chapter on apparitions. Aubrey's collection of stories ranges from the briefest of sketches--

Charles the Simple, King of France, as he was hunting in a forest, and lost his company, was frighted to simplicity by an apparition.

--to the richly detailed--

T. M. Esq., an old acquaintance of mine, hath assured me that about a quarter of a year after his first wife's death, as he lay in bed awake with his grand-child, his wife opened the closet-door, and came into the chamber by the bedside, and looked upon him and stooped down and kissed him; her lips were warm, he fancied they would have been cold. He was about to have embraced her, but was afraid it might have done him hurt. When she went from him, he asked her when he should see her again ? she turned about and smiled, but said nothing. The closet door striked as it used to, both at her coming in and going out. He had every night a great coal fire in his chamber, which gave a light as clear almost as a candle. He was hypochondriacal; he married two wives since, the latter end of his life was uneasy.

I love that account: can't you just see T. M. Esq., face shadowed by the flickering of an early autumn fire, clutching Aubrey's sleeve with one hand, the other twined round a wineglass, as he desperately swears--after making sure his current wife isn't in earshot--that this story is true, by god, and help me, Aubrey, help me--what does it mean?

Then there are the doppelgangers, the worst of which appeared to Sir Richard Nepier, MD, of London, who

When [he] was upon the road coming from Bedfordshire, the chamberlain of the inn, shewed him his chamber, the doctor saw a dead man lying upon the bed; he looked more wistly and saw it was himself: he was then well enough in health.

Good health he may have had, but you all know enough about doppelgangers to see what's coming next:

He went forward in his journey to Mr. Steward's in Berkshire, and there died. This account I have in a letter from Elias Ashmole, Esq. They were intimate friends.

My favorite of Aubrey's ghosts, however, is one of the simplest:

Anno 1670, not far from Cirencester, was an apparition: being demanded, whether a good spirit or a bad? returned no answer, but disappeared with a curious perfume and most melodious twang. Mr. W. Lilly believes it was a fairy.

"A curious perfume" and a "melodious twang"? I think absence of minor chords and mephitic stenches are enough all by themselves to group a ghost with the good, don't you?

"The gruesomely conscious realm of ghostly fear and cold terror," or, The Haunted Commonplace Book!

{Resting, London. Photo by rocketlass.}

From a gravestone in Norfolk churchyard, collected in Everybody's Book of Epitaphs, W. H. Howe, editor

Underneath this sod lies John Round
Who was lost in the sea and never was found.

From Jean-Claude Schmitt's Ghosts in the Middle Ages: The Living and the Dead in Medieval Society (1994, 1998 translation by Teresa Lavender Fagan):

Historians and ethnologists commonly speak of a "belief in ghosts." But what does this really mean, and how can the historian ascertain past beliefs? One of the recent advances in the "anthropology of beliefs" is to question the ill-considered uses of the notion of "belief." We must be careful not to reify belief, to turn it into something established once and for all, something that individuals and societies need only express and pass on to each other. It is appropriate to substitute a more active notion for the term "belief": the verb "to believe." In this way a belief is a never-completed activity, one that is precarious, always questioned, and inseparable from recurrences of doubt.

That seems in keeping with Shirley Jackson's argument, in the lecture I quoted from yesterday, that even those of us who claim not to believe in ghosts are a quick glimpse in the wrong direction away from changing our minds. We don't believe, but . . .

From the entry for "ghost" in David Pickering's Cassell's Dictionary of Superstitions (1995):

Measures that may be taken against encountering ghosts include, according to Scottish tradition, wearing a cross of Rowan wood fastened with red thread and concealed in the lining of one's coat.

From "Mujina" by Lafcadio Hearn, collected in Kwaidan: Stories and Studies of Strange Things (1904):

Then that O-juchu turned round, and dropped her sleeve, and stroked her face with her hand, ;--and the man saw that she had no eyes or nose or mouth,--and he screamed and ran away.

From "The Banshee," in Jorge Luis Borges's The Book of Imaginary Beings (1967, 2005 translation by Andrew Hurley):

No one seems ever to have seen one. They are less a shape than a wailing that lends horror to the nights of Ireland and (according to Sir Walter Scott's Letters on Demonology and Witchcraft) the mountain regions of Scotland. Heard outside one's window, they herald the death of some member of the family.

{Weeping girl in Cemetiere Mont-Royal, Montreal. Photo by rocketlass.}

Most of us skeptics these days ground our rejection of the concept of ghosts not so much on our not having seen one but on basic rationality. The efforts of William James and his colleagues to find proof of spirit manifestations were, after all, a bust, and no verifiable evidence has emerged since. Rationality, therefore, demands that we at the very least put ghosts in the category of unlikely. And yet, the sun still goes down, and the autumn nights still carry their unsettling chill . . .

From Jean-Claude Schmitt's Ghosts in the Middle Ages (1994, 1998 translation by Teresa Lavender Fagan):

A persistent yet somewhat ambiguous and contradictory refusal to admit the possibility that the dead might return in dreams or perhaps in conscious visions characterized the ecclesiastical culture of the early Middle Ages. . . . In a religious way of thinking long fragmented by a fundamental dualism--the antagonism between the devil and the saints, between the phantasmagorias of the former and the controlled apparitions of the latter--there was very little room for ghosts or for the oneiric and ambivalent revelations of ordinary dead people.

From D. J. Enright's introduction to the "Loving Revenants" chapter of The Oxford Book of the Supernatural (1994):

That these visitors rarely convey a message of much overt significance has found its reasons. What motivates them rather than the delivery of urgent intelligence is the natural desire to glimpse their children, their loved ones, to revisit places where they lived or worked (a pantry, a library, an altar), returning, in the words of Hardy's poem, to where the living person "found life largest, best." Such appearances are more for the sake of the revenant, then.

{Gravestone of an aviator, San Michele Island, Venice. Photo by rocketlass.}

Of course, unlike most of human history--or for example, thinking back to yesterday's post, the years following World War I--now we are able to pass through our days with little thought of death. It's something that happens elsewhere, to other people. Such a denial makes every aspect of modern life easier, from conspicuous consumption to support for distant wars. Death no longer visibly stalks us, and though we know that means he'll ultimately sneak up and pounce us instead, we have become very good at denying that inevitability.

From Johan Huizinga's The Autumn of the Middle Ages (1921, 1996 translation by Rodney J. Payton and Ulrich Mammitzch):

No other age has so forcefully and continuously impressed the idea of death on the whole population as did the fifteenth century, in which the call of the memento mori echoes throughout the whole of life. Denis the Carthusian, in the book he wrote for the guidance of the nobleman, makes the exhortation that "when he goes to bed, he should imagine not that he is putting himself to bed, but that others are laying him in his grave." . . . . In the fourteenth century, the strange word "macabre" appeared, or, as it was originally spelled, "Macabré." "Je fis Macabré la dance," ("I made the Dance Macabre") says the poet Jean Le Fevr in 1376. It is a personal name and this might be the much disputed eytmology of the word. It is only much later that the adjective is abstraced from "le danse macabre" that has acquired for us such a crisp and particular nuance of meaning that with it we can label the entire late medieval vision of death. The motif of death in the form of the "macabre" is primarily found in our times in village cemeteries where one can still sense its echo in verses and figures. By the end of hte Middle Ages, this notion had become an important cultural conception. There entered into the realm surrounding the idea of death a new, grippingly fantastic element, a shiver that arose from the gruesomely conscious realm of ghostly fear and cold terror.

Ah, but us ghost story fans at least have October as our memento mori, our occasion for focusing our attentions on the fate we'll all share--and, while eschewing the comforts of religion, thinking on the possibility that it might not be the end after all.


{St. Boniface Cemetery, Chicago. Photo by rocketlass.}

From "The Girl I Left Behind Me" by Muriel Spark, collected in The Ghost Stories of Muriel Spark (1994):

I opened the door and my sadness left me at once. With a great joy I recognized what it was I had left behind me, my body lying strangled on the floor. I ran toward my body and embraced it like a lover.

From Edgar Allan Poe's "The Masque of the Red Death" (1842):

And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.

From Stephen King's Salem's Lot (1975):

It became unspeakable.