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    The House of Souls
    The House of Souls
    The House of Souls
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    The House of Souls

    By Arthur Machen

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    “The House of Souls” is a 1922 collection of short stories by Arthur Machan. Arthur Machen (1863 – 1947) was a Welsh author and renowned mystic during the 1890s and early 20th century who garnered literary acclaim for his contributions to the supernatural, horror, and fantasy fiction genres. His seminal novella “The Great God Pan” (1890) has become a classic of horror fiction, with Stephen King describing it as one of the best horror stories ever written in the English language. Other notable fans of his gruesome tales include William Butler Yeats and Arthur Conan Doyle; and his work has been compared to that of Robert Louis Stevenson, Bram Stoker, and Oscar Wilde. When first published, this collection relit Machan's career by including his most notable works of the eighteen-nineties and bringing them to a new audience of horror fans. Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new biography of the author.
    LanguageEnglish
    PublisherFantasy and Horror Classics
    Release dateNov 22, 2018
    ISBN9781528785310
    The House of Souls
    Author

    Arthur Machen

    Arthur Machen (1863–1947) was a Welsh author and actor best known for his fantasy and horror fiction. He grew up with intentions of becoming a doctor, but followed a boyhood passion of the supernatural and occult and started to write. In 1890, Machen began publishing short stories in literary magazines. Four years later, he released his breakthrough work, The Great God Pan. Decried upon initial publication for its depictions of sex and violence, the tale has since become a horror classic and has been hailed as “maybe the best [horror story] in the English language” by Stephen King. Machen continued to publish supernatural novels but spent time as actor in a traveling player company after his wife’s death. His literary career revived once more with the publication of his works The House of Souls and The Hill of Dreams. During World War I, Machen became a full-time journalist. Though he rallied for republications of his works, Machen’s literary career ultimately diminished, and he lived much of his life in poor finances. 

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    • 4/5
      The first story "A Fragment of Life" was a bit long in parts, which caused me to skip ahead to the next stories in the collection. I probably liked the White People the best.Certainly though has a lot of the mysticism that I like and reminds quite a bit of Dunsany.I did go back and read "A Fragment of Life" and there's some excellent parts in it.Certainly a collection of stories, that like a lot of Dunsany's work as well, best read as the sun sets.

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    The House of Souls - Arthur Machen

    1.png

    THE

    HOUSE OF SOULS

    By

    ARTHUR MACHEN

    First published in 1922

    This edition published by Read Books Ltd.

    Copyright © 2018 Read Books Ltd.

    This book is copyright and may not be

    reproduced or copied in any way without

    the express permission of the publisher in writing

    British Library Cataloguing-in-Publication Data

    A catalogue record for this book is available

    from the British Library

    Contents

    ARTHUR MACHEN

    Introduction

    A Fragment of Life

    The White People

    The Great God Pan

    The Inmost Light

    ARTHUR MACHEN

    Arthur Machen was born in Caerleon, Monmouthshire, Wales in 1863. At the age of eleven, he boarded at Hereford Cathedral School, where he received a comprehensive classical education. Family poverty ruled out going to university, and Machen was sent to London, where he sat entrance exams at medical school but failed to get in. In the capital, he lived in relative poverty, working in a variety of short-lived jobs and exploring the city during the evenings. However, he began to show literary promise; in 1881, at the age of just eighteen, he published a long poem, 'Eleusinia', and in 1884, he published his second work, the pastiche The Anatomy of Tobacco.

    By 1890, Machen was publishing in literary magazines, and writing stories with Gothic and fantastic themes. His first major success came in 1894, with the novella The Great God Pan. Although widely denounced by the press as degenerate and horrific because of its decadent style and sexual content, it has since garnered a reputation as a classic of horror; indeed, author Stephen King has called it maybe the best [horror story] in the English language. Machen next produced The Three Impostors (1895), a novel composed of a number of interwoven tales which are now regarded as some of his best works.

    Between 1900 and 1910, Machen dabbled in acting, and published what is generally seen as his magnum opus, The Hill of Dreams (1907). He accepted a full-time journalist's job at Alfred Harmsworth's Evening News in 1910, where he remained throughout the war, not leaving until 1921. Machen accepted this role mainly to pay his bills – fiction-writing was his true passion, and he carried on producing novels and short stories throughout the 1910s – but he came to be regarded as a great Fleet Street character by his contemporaries.

    The early 1920s saw something of a Machen boom; his works became popular in America, and he brought out his two-volume autobiography. However, by 1929 he was struggling financially again, and left London with his family. It was only a literary appeal launched on the occasion of his eightieth birthday – which drew contributions from admirers such as T. S. Eliot and Bernard Shaw – that eventually ended Machen's money woes. He died some years later in Beaconsfield, Buckinghamshire, England, aged 84. His legacy remains formidable; his work has influenced countless other artists, and is seen as setting the stage for – amongst other things – the Cthulhu horrors of H. P. Lovecraft.

    Introduction

    It was somewhere, I think, towards the autumn of the year 1889 that the thought occurred to me that I might perhaps try to write a little in the modern way. For, hitherto, I had been, as it were, wearing costume in literature. The rich, figured English of the earlier part of the seventeenth century had always had a peculiar attraction for me. I accustomed myself to write in it, to think in it; I kept a diary in that manner, and half-unconsciously dressed up my every day thoughts and common experiences in the habit of the Cavalier or of the Caroline Divine. Thus, when in 1884 I got a commission to translate the Heptameron, I wrote quite naturally in the language of my favourite period, and, as some critics declare, made my English version somewhat more antique and stiff than the original. And so The Anatomy of Tobacco was an exercise in the antique of a different kind; and The Chronicle of Clemendy was a volume of tales that tried their hardest to be mediæval; and the translation of the Moyen de Parvenir was still a thing in the ancient mode.

    It seemed, in fine, to be settled that in literature I was to be a hanger on of the past ages; and I don't quite know how I managed to get away from them. I had finished translating Casanova—more modern, but not thoroughly up to date—and I had nothing  particular on hand, and, somehow or other, it struck me that I might try a little writing for the papers. I began with a turnover as it was called, for the old vanished Globe, a harmless little article on old English proverbs; and I shall never forget my pride and delight when one day, being at Dover, with a fresh autumn wind blowing from the sea, I bought a chance copy of the paper and saw my essay on the front page. Naturally, I was encouraged to persevere, and I wrote more turnovers for the Globe and then tried the St. James's Gazette and found that they paid two pounds instead of the guinea of the Globe, and again, naturally enough, devoted most of my attention to the St. James's Gazette. From the essay or literary paper, I somehow got into the habit of the short story, and did a good many of these, still for the St. James's, till in the autumn of 1890, I wrote a tale called The Double Return. Well, Oscar Wilde asked: Are you the author of that story that fluttered the dovecotes? I thought it was very good. But: it did flutter the dovecotes, and the St. James's Gazette and I parted.

    But I still wrote short stories, now chiefly for what were called society papers, which have become extinct. And one of these appeared in a paper, the name of which I have long forgotten. I had called the tale Resurrectio Mortuorum, and the editor had very sensibly rendered the title into The Resurrection of the Dead.

    I do not clearly remember how the story began. I am inclined to think something in this way:

    Old Mr. Llewellyn, the Welsh antiquary, threw his copy of the morning paper on the floor and banged the breakfast-table, exclaiming: 'Good God! Here's  the last of the Caradocs of the Garth, has been married in a Baptist Chapel by a dissenting preacher; somewhere in Peckham.' Or, did I take up the tale a few years after this happy event and shew the perfectly cheerful contented young commercial clerk running somewhat too fast to catch the bus one morning, and feeling dazed all day long over the office work, and going home in a sort of dimness, and then at his very doorstep, recovering as it were, his ancestral consciousness. I think it was the sight of his wife and the tones of her voice that suddenly announced to him with the sound of a trumpet that he had nothing to do with this woman with the Cockney accent, or the pastor who was coming to supper, or the red brick villa, or Peckham or the City of London. Though the old place on the banks of the Usk had been sold fifty years before, still, he was Caradoc of the Garth. I forget how I ended the story: but here was one of the sources of A Fragment of Life.

    And somehow, though the tale was written and printed and paid for; it stayed with me as a tale half told in the years from 1890 to 1899. I was in love with the notion: this contrast between the raw London suburb and its mean limited life and its daily journeys to the City; its utter banality and lack of significance; between all this and the old, grey mullioned house under the forest near the river, the armorial bearings on the Jacobean porch, and noble old traditions: all this captivated me and I thought of my mistold tale at intervals, while I was writing The Great God Pan, The Red Hand, The Three Impostors, The Hill of Dreams, The White People, and Hieroglyphics. It was at the back of my head, I suppose, all the time, and at last in '99 I began to write it all over again from a somewhat different standpoint.

    The fact was that one grey Sunday afternoon in the March of that year, I went for a long walk with a friend. I was living in Gray's Inn in those days, and we stravaged up Gray's Inn Road on one of those queer, unscientific explorations of the odd corners of London in which I have always delighted. I don't think that there was any definite scheme laid down; but we resisted manifold temptations. For on the right of Gray's Inn Road is one of the oddest quarters of London—to those, that is, with the unsealed eyes. Here are streets of 1800-1820 that go down into a valley—Flora in Little Dorrit lived in one of them—and then crossing King's Cross Road climb very steeply up to heights which always suggest to me that I am in the hinder and poorer quarter of some big seaside place, and that there is a fine view of the sea from the attic windows. This place was once called Spa Fields, and has very properly an old meeting house of the Countess of Huntingdon's Connection as one of its attractions. It is one of the parts of London which would attract me if I wished to hide; not to escape arrest, perhaps, but rather to escape the possibility of ever meeting anybody who had ever seen me before.

    But: my friend and I resisted it all. We strolled along to the parting of many ways at King's Cross Station, and struck boldly up Pentonville. Again: on our left was Barnsbury, which is like Africa. In Barnsbury semper aliquid novi, but our course was laid for us by some occult influence, and we came to Islington and chose the right hand side of the way. So far, we were tolerably in the region of the known,[xi]  since every year there is the great Cattle Show at Islington, and many men go there. But, trending to the right, we got into Canonbury, of which there are only Travellers' Tales. Now and then, perhaps, as one sits about the winter fire, while the storm howls without and the snow falls fast, the silent man in the corner has told how he had a great aunt who lived in Canonbury in 1860; so in the fourteenth century you might meet men who had talked with those who had been in Cathay and had seen the splendours of the Grand Cham. Such is Canonbury; I hardly dare speak of its dim squares, of the deep, leafy back-gardens behind the houses, running down into obscure alleyways with discreet, mysterious postern doors: as I say, Travellers' Tales; things not much credited.

    But, he who adventures in London has a foretaste of infinity. There is a region beyond Ultima Thule. I know not how it was, but on this famous Sunday afternoon, my friend and I, passing through Canonbury came into something called the Balls Pond Road—Mr. Perch, the messenger of Dombey & Son, lived somewhere in this region—and so I think by Dalston down into Hackney where caravans, or trams, or, as I think you say in America, trolley cars set out at stated intervals to the limits of the western world.

    But in the course of that walk which had become an exploration of the unknown, I had seen two common things which had made a profound impression upon me. One of these things was a street, the other a small family party. The street was somewhere in that vague, uncharted, Balls Pond-Dalston region. It was a long street and a grey street. Each house was exactly like every other house. Each house had a basement,  the sort of story which house-agents have grown to call of late a lower ground floor. The front windows of these basements were half above the patch of black, soot-smeared soil and coarse grass that named itself a garden, and so, passing along at the hour of four o'clock or four-thirty, I could see that in everyone of these breakfast rooms—their technical name—the tea tray and the tea cups were set out in readiness. I received from this trivial and natural circumstance an impression of a dull life, laid out in dreadful lines of patterned uniformity, of a life without adventure of body or soul.

    Then, the family party. It got into the tram down Hackney way. There were father, mother and baby; and I should think that they came from a small shop, probably from a small draper's shop. The parents were young people of twenty-five to thirty-five. He wore a black shiny frock coat—an Albert in America?—a high hat, little side whiskers and dark moustache and a look of amiable vacuity. His wife was oddly bedizened in black satin, with a wide spreading hat, not ill-looking, simply unmeaning. I fancy that she had at times, not too often, a temper of her own. And the very small baby sat upon her knee. The party was probably going forth to spend the Sunday evening with relations or friends.

    And yet, I said to myself, these two have partaken together of the great mystery, of the great sacrament of nature, of the source of all that is magical in the wide world. But have they discerned the mysteries? Do they know that they have been in that place which is called Syon and Jerusalem?—I am quoting from an old book and a strange book.

    It was thus that, remembering the old story of the Resurrection of the Dead, I was furnished with the source of A Fragment of Life. I was writing Hieroglyphics at the time, having just finished The White People; or rather, having just decided that what now appears in print under that heading was all that would ever be written, that the Great Romance that should have been written—in manifestation of the idea—would never be written at all. And so, when Hieroglyphics was finished, somewhere about May 1899, I set about A Fragment of Life and wrote the first chapter with the greatest relish and the utmost ease. And then my own life was dashed into fragments. I ceased to write. I travelled. I saw Syon and Bagdad and other strange places—see Things Near and Far for an explanation of this obscure passage—and found myself in the lighted world of floats and battens, entering L. U. E., crossing R and exiting R 3; and doing all sorts of queer things.

    But still, in spite of all these shocks and changes, the notion would not leave me. I went at it again, I suppose in 1904; consumed with a bitter determination to finish what I had begun. Everything now had become difficult. I tried this way and that way and the other way. They all failed and I broke down on every one of them; and I tried and tried again. At last I cobbled up some sort of an end, an utterly bad one, as I realized as I wrote every single line and word of it, and the story appeared, in 1904 or 1905, in Horlick's Magazine under the editorship of my old and dear friend, A. E. Waite.

    Still; I was not satisfied. That end was intolerable[xiv]  and I knew it. Again, I sat down to the work, night after night I wrestled with it. And I remember an odd circumstance which may or may not be of some physiological interest. I was then living in a circumscribed upper part of a house in Cosway Street, Marylebone Road. That I might struggle by myself, I wrote in the little kitchen; and night after night as I fought grimly, savagely, all but hopelessly for some fit close for A Fragment of Life, I was astonished and almost alarmed to find that my feet developed a sensation of most deadly cold. The room was not cold; I had lit the oven burners of the little gas cooking stove. I was not cold; but my feet were chilled in a quite extraordinary manner, as if they had been packed in ice. At last I took off my slippers with a view of poking my toes into the oven of the stove, and feeling my feet with my hand, I perceived that, in fact, they were not cold at all! But the sensation remained; there, I suppose, you have an odd case of a transference of something that was happening in the brain to the extremities. My feet were quite warm to the palm of my hand, but to my sense they were frozen. But what a testimony to the fitness of the American idiom, cold feet, as signifying a depressed and desponding mood! But, somehow or other, the tale was finished and the notion was at last out of my head. I have gone into all this detail about A Fragment of Life because I have been assured in many quarters that it is the best thing that I have ever done, and students of the crooked ways of literature may be interested to hear of the abominable labours of doing it.

    The White People belongs to the same year as the first chapter of A Fragment of Life, 1899, which was also the year of Hieroglyphics. The fact was I was in high literary spirits, just then. I had been harassed and worried for a whole year in the office of Literature, a weekly paper published by The Times, and getting free again, I felt like a prisoner released from chains; ready to dance in letters to any extent. Forthwith I thought of A Great Romance, a highly elaborate and elaborated piece of work, full of the strangest and rarest things. I have forgotten how it was that this design broke down; but I found by experiment that the great romance was to go on that brave shelf of the unwritten books, the shelf where all the splendid books are to be found in their golden bindings. The White People is a small piece of salvage from the wreck. Oddly enough, as is insinuated in the Prologue, the mainspring of the story is to be sought in a medical textbook. In the Prologue reference is made to a review article by Dr. Coryn. But I have since found out that Dr. Coryn was merely quoting from a scientific treatise that case of the lady whose fingers became violently inflamed because she saw a heavy window sash descend on the fingers of her child. With this instance, of course, are to be considered all cases of stigmata, both ancient and modern: and then the question is obvious enough: what limits can we place to the powers of the imagination? Has not the imagination the potentiality at least of performing any miracle, however marvelous, however incredible, according to our ordinary standards? As to the decoration of the story, that is a mingling which I venture to think somewhat ingenious of odds and ends of folk lore and witch lore with pure inventions of my own. Some years later I was amused to receive a letter from a gentleman who was, if I remember, a schoolmaster somewhere in Malaya. This gentleman, an earnest student of folklore, was writing an article on some singular things he had observed amongst the Malayans, and chiefly a kind of were-wolf state into which some of them were able to conjure themselves. He had found, as he said, startling resemblances between the magic ritual of Malaya and some of the ceremonies and practices hinted at in The White People. He presumed that all this was not fancy but fact; that is that I was describing practices actually in use among superstitious people on the Welsh border; he was going to quote from me in the article for the Journal of the Folk Lore Society, or whatever it was called, and he just wanted to let me know. I wrote in a hurry to the folklore journal to bid them beware: for the instances selected by the student were all fictions of my own brain!

    The Great God Pan and The Inmost Light are tales of an earlier date, going back to 1890, '91, '92. I have written a good deal about them in Far Off Things, and in a preface to an edition of The Great God Pan, published by Messrs. Simpkin, Marshall in 1916, I have described at length the origins of the book. But I must quote anew some extracts from the reviews which welcomed The Great God Pan to my extraordinary entertainment, hilarity and refreshment. Here are a few of the best:

    It is not Mr. Machen's fault but his misfortune, that one shakes with laughter rather than with dread over the contemplation of his psychological bogey.—Observer.

    His horror, we regret to say, leaves us quite cold ... and our flesh obstinately refuses to creep.—Chronicle.

    His bogies don't scare.—Sketch.

    We are afraid he only succeeds in being ridiculous.—Manchester Guardian.

    Gruesome, ghastly and dull.—Lady's Pictorial.

    Incoherent nightmare of sex ... which would soon lead to insanity if unrestrained ... innocuous from its absurdity.—Westminster Gazette.

    And so on, and so on. Several papers, I remember, declared that The Great God Pan was simply a stupid and incompetent rehash of Huysmans' Là-Bas and À Rebours. I had not read these books so I got them both. Thereon, I perceived that my critics had not read them either.

    A Fragment of Life

    I

    EDWARD DARNELL  awoke from a dream of an ancient wood, and of a clear well rising into grey film and vapour beneath a misty, glimmering heat; and as his eyes opened he saw the sunlight bright in the room, sparkling on the varnish of the new furniture. He turned and found his wife's place vacant, and with some confusion and wonder of the dream still lingering in his mind, he rose also, and began hurriedly to set about his dressing, for he had overslept a little, and the 'bus passed the corner at 9.15. He was a tall, thin man, dark-haired and dark-eyed, and in spite of the routine of the City, the counting of coupons, and all the mechanical drudgery that had lasted for ten years, there still remained about him the curious hint of a wild grace, as if he had been born a creature of the antique wood, and had seen the fountain rising from the green moss and the grey rocks.

    The breakfast was laid in the room on the ground floor, the back room with the French windows looking on the garden, and before he sat down to his fried bacon he kissed his wife seriously and dutifully. She had brown hair and brown eyes, and though her lovely face was grave and quiet, one would have said that she might have awaited her husband under the old trees, and bathed in the pool hollowed out of the rocks.

    They had a good deal to talk over while the coffee was poured out and the bacon eaten, and Darnell's egg brought in by the stupid, staring servant-girl of the dusty face. They had been married for a year, and they had got on excellently, rarely sitting silent for more than an hour, but for the past few weeks Aunt Marian's present had afforded a subject for conversation which seemed inexhaustible. Mrs. Darnell had been Miss Mary Reynolds, the daughter of an auctioneer and estate agent in Notting Hill, and Aunt Marian was her mother's sister, who was supposed rather to have lowered herself by marrying a coal merchant, in a small way, at Turnham Green. Marian had felt the family attitude a good deal, and the Reynoldses were sorry for many things that had been said, when the coal merchant saved money and took up land on building leases in the neighbourhood of Crouch End, greatly to his advantage, as it appeared. Nobody had thought that Nixon could ever do very much; but he and his wife had been living for years in a beautiful house at Barnet, with bow-windows, shrubs, and a paddock, and the two families saw but little of each other, for Mr. Reynolds was not very prosperous. Of course, Aunt Marian and her husband had been asked to Mary's wedding, but they had sent excuses with a nice little set of silver apostle spoons, and it was feared that nothing more was to be looked for. However, on Mary's birthday her aunt had written a most affectionate letter, enclosing a cheque for a hundred pounds from 'Robert' and herself, and ever since the receipt of the money the Darnells had discussed the question of its judicious disposal. Mrs. Darnell had wished to invest the whole sum in Government securities, but Mr. Darnell had pointed out that the rate of interest was absurdly low, and after a good deal of talk he had persuaded his wife to put ninety pounds of the money in a safe mine, which was paying five per cent. This was very well, but the remaining ten pounds, which Mrs. Darnell had insisted on reserving, gave rise to legends and discourses as interminable as the disputes of the schools.

    At first Mr. Darnell had proposed that they should furnish the 'spare' room. There were four bedrooms in the house: their own room, the small one for the servant, and two others overlooking the garden, one of which had been used for storing boxes, ends of rope, and odd numbers of 'Quiet Days' and 'Sunday Evenings,' besides some worn suits belonging to Mr. Darnell which had been carefully wrapped up and laid by, as he scarcely knew what to do with them.

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