Xelucha is a noxiously hideous fragment, but is excelled by Mr. Shiel's undoubted masterpiece, The House of Sounds, floridly written in the "yellow nineties," and recast with more artistic restraint in the early twentieth century. Ibis story, in final form, deserves a place among the foremost things of its kind. It tells of a creeping horror and menace trickling down the centuries on a sub-arctic island off the coast of Norway; where, amidst the sweep of daemon winds and the ceaseless din of hellish waves and cataracts, a vengeful dead man built a brazen tower of terror. It is vaguely like, yet infinitely unlike, Poe's Fall of the House of Usher. In the novel The Purple Cloud Mr. Shiel describes with tremendous power a curse which came out of the arctic to destroy mankind, and which for a time appears to have left but a single inhabitant on our planet. The sensations of this lone survivor as he realises his position, and roams through the corpse-littered and treasure-strewn cities of the world as their absolute master, are delivered with a skill and artistry falling little short of actual majesty. Unfortunately the second half of the book, with its conventionally romantic element, involves a distinct letdown.
Better known than Shiel is the ingenious Bram Stoker, who created many starkly horrific conceptions in a series of novels whose poor technique sadly impairs their net effect. The Lair of the White Worm, dealing with a gigantic primitive entity that lurks in a vault beneath an ancient castle, utterly ruins a magnificent idea by a development almost infantile. The Jewel of Seven Stars, touching on a strange Egyptian resurrection, is less crudely written. But best of all is the famous Dracula, which has become almost the standard modern exploitation of the frightful vampire myth. Count Dracula, a vampire, dwells in a horrible castle in the Carpathians, but finally migrates to England with the design of populating the country with fellow vampires. How an Englishman fares within Dracula's stronghold of terrors, and how the dead fiend's plot for domination is at last defeated, are elements which unite to form a tale now justly assigned a permanent place in English letters. Dracula evoked many similar novels of supernatural horror, among which the best are perhaps The Beetle, by Richard Marsh, Brood of the Witch-Queen, by "Sax Rohmer" (Arthur Sarsfield Ward), and The Door of the Unreal, by Gerald Bliss. The latter handles quite dexterously the standard werewolf superstition. Much subtler and more artistic, and told with singular skill through the juxtaposed narratives of the several characters, is the novel Cold Harbour, by Francis Brett Young, in which an ancient house of strange malignancy is powerfully delineated. The mocking and well-nigh omnipotent fiend Humphrey Furnival holds echoes of the Manfred-Montoni type of early Gothic "villain," but is redeemed from triteness by many clever individualities. Only the slight diffuseness of explanation at the close, and the somewhat too free use of divination as a plot factor, keep this tale from approaching absolute perfection.
In the novel Witch Wood John Buchan depicts with tremendous force a survival of the evil Sabbat in a lonely district of Scotland. The description of the black forest with the evil stone, and of the terrible cosmic adumbrations when the horror is finally extirpated, will repay one for wading through the very gradual action and plethora of Scottish dialect. Some of Mr. Buchan's short stories are also extremely vivid in their spectral intimations; The Green Wildebeest, a tale of African witchcraft, The Wind in the Portico, with its awakening of dead Britanno-Roman horrors, and Skule Skerry, with its touches of sub-arctic fright, being especially remarkable.
Clemence Housman, in the brief novelette The Werewolf, attains a high degree of gruesome tension and achieves to some extent the atmosphere of authentic folklore. In The Elixir of Life Arthur Ransome attains some darkly excellent effects despite a general naiveté of plot, while H. B. Drake's The Shadowy Thing summons up strange and terrible vistas. George Macdonald's Lilith has a compelling bizarrerie all its own, the first and simpler of the two versions being perhaps the more effective.
Deserving of distinguished notice as a forceful craftsman to whom an unseen mystic world is, ever a dose and vital reality is the poet Walter de la Mare, whose haunting verse and exquisite prose alike bear consistent traces of a strange vision reaching deeply into veiled spheres of beauty and terrible and forbidden dimensions of being. In the novel The Return we see the soul of a dead man reach out of its grave of two centuries and fasten itself upon the flesh of the living, so that even the face of the victim becomes that which had long ago returned to dust.
Of the shorter tales, of which several volumes exist, many are unforgettable for their command of fear's and sorcery's darkest ramifications; notably Seaton's Aunt, in which there lowers a noxious background of malignant vampirism; The Tree, which tells of a frightful vegetable growth in the yard of a starving artist; Out of the Deep, wherein we are given leave to imagine what thing answered the summons of a dying wastrel in a dark lonely house when he pulled a long-feared bell-cord in the attic of his dread-haunted boyhood; A Recluse, which hints at what sent a chance guest flying from a house in the night; Mr. Kempe, which shows us a mad clerical hermit in quest of the human soul, dwelling in a frightful sea-cliff region beside an archaic abandoned chapel; and All-Hallows, a glimpse of d�moniac forces besieging a lonely mediaeval church and miraculously restoring the rotting masonry. De la Mare does not make fear the sole or even the dominant element of most of his tales, being apparently more interested in the subtleties of character involved. Occasionally he sinks to sheer whimisical phantasy of the Barrie order. Still he is among the very few to whom unreality is a vivid, living presence; and as such he is able to put into his occasional fear-studies a keen potency which only a rare master can achieve. His poem The Listeners restores the Gothic shudder to modern verse.
The weird short story has fared well of late, an important contributor being the versatile E. F. Benson, whose The Man Who Went Too Far breathes whisperingly of a house at the edge of a dark wood, and of Pan's hoof-mark on the breast of a dead man. Mr. Benson's volume, Visible and Invisible, contains several stories of singular power; notably Negotiam Perambulans, whose unfolding reveals an abnormal monster from an ancient ecclesiastical panel which performs an act of miraculous vengeance in a lonely village on the Cornish coast, and The Horror-Horn, through which lopes a terrible half-human survival dwelling on unvisited Alpine peaks.
The Face, in another collection, is lethally potent, in its relentless aura of doom. H. R. Wakefield, in his collections, They Return at Evening and Others Who Return, manages now and then to achieve great heights of horror despite a vitiating air of sophistication. The most notable stories are The Red Lodge with its slimy acqueous evil, He Cometh and He Passeth By, And He Shall Sing, The Cairn, Look Up There, Blind Man's Buff, and that bit of lurking millennial horror, The Seventeenth Hole at Duncaster. Mention has been made of the weird work of H.G. Wells and A. Conan Doyle. The former, in The Ghost of Fear, reaches a very high level while all the items in Thirty Strange Stories have strong fantastic implications. Doyle now and then struck a powerfully spectral note, as in The Captain of the Pole-Star, a tale of arctic ghostliness, and Lot No.