Part 3

'Still, memory, to me thou art The dearest of the gifts of mind, For all the joys that touch my heart Are joys that I have left behind.

Le Fanu's literary life may be divided into three distinct periods. During the first of these, and till his thirtieth year, he was an Irish ballad, song, and story writer, his first published story being the 'Adventures of Sir Robert Ardagh,' which appeared in the 'Dublin University Magazine' of 1838.

In 1844 he was united to Miss Susan Bennett, the beautiful daughter of the late George Bennett, Q.C. From this time until her decease, in 1858, he devoted his energies almost entirely to press work, making, however, his first essays in novel writing during that period. The 'Cock and Anchor,' a chronicle of old Dublin city, his first and, in the opinion of competent critics, one of the best of his novels, seeing the light about the year 1850. This work, it is to be feared, is out of print, though there is now a cheap edition of 'Torlogh O'Brien,' its immediate successor. The comparative want of success of these novels seems to have deterred Le Fanu from using his pen, except as a press writer, until 1863, when the 'House by the Churchyard' was published, and was soon followed by 'Uncle Silas' and his five other well-known novels.

We have considered Le Fanu as a ballad writer and poet. As a press writer he is still most honourably remembered for his learning and brilliancy, and the power and point of his sarcasm, which long made the 'Dublin Evening Mail' one of the most formidable of Irish press critics; but let us now pass to the consideration of him in the capacity of a novelist, and in particular as the author of 'Uncle Silas.'

There are evidences in 'Shamus O'Brien,' and even in 'Phaudrig Croohore,' of a power over the mysterious, the grotesque, and the horrible, which so singularly distinguish him as a writer of prose fiction.

'Uncle Silas,' the fairest as well as most familiar instance of this enthralling spell over his readers, is too well known a story to tell in detail. But how intensely and painfully distinct is the opening description of the silent, inflexible Austin Ruthyn of Knowl, and his shy, sweet daughter Maude, the one so resolutely confident in his brother's honour, the other so romantically and yet anxiously interested in her uncle--the sudden arrival of Dr. Bryerly, the strange Swedenborgian, followed by the equally unexpected apparition of Madame de la Rougiere, Austin Ruthyn's painful death, and the reading of his strange will consigning poor Maude to the protection of her unknown Uncle Silas--her cousin, good, bright devoted Monica Knollys, and her dreadful distrust of Silas--Bartram Haugh and its uncanny occupants, and foremost amongst them Uncle Silas.

This is his portrait:

'A face like marble, with a fearful monumental look, and for an old man, singularly vivid, strange eyes, the singularity of which rather grew upon me as I looked; for his eyebrows were still black, though his hair descended from his temples in long locks of the purest silver and fine as silk, nearly to his shoulders.

'He rose, tall and slight, a little stooped, all in black, with an ample black velvet tunic, which was rather a gown than a coat....

'I know I can't convey in words an idea of this apparition, drawn, as it seemed, in black and white, venerable, bloodless, fiery-eyed, with its singular look of power, and an expression so bewildering--was it derision, or anguish, or cruelty, or patience?

'The wild eyes of this strange old man were fixed on me as he rose; an habitual contraction, which in certain lights took the character of a scowl, did not relax as he advanced towards me with a thin-lipped smile.'

Old Dicken and his daughter Beauty, old L'Amour and Dudley Ruthyn, now enter upon the scene, each a fresh shadow to deepen its already sombre hue, while the gloom gathers in spite of the glimpse of sunshine shot through it by the visit to Elverston. Dudley's brutal encounter with Captain Oakley, and vile persecution of poor Maude till his love marriage comes to light, lead us on to the ghastly catastrophe, the hideous conspiracy of Silas and his son against the life of the innocent girl.

It is interesting to know that the germ of Uncle Silas first appeared in the 'Dublin University Magazine' of 1837 or 1838, as the short tale, entitled, 'A Passage from the Secret History of an Irish Countess,' which is printed in this collection of Stories. It next was published as 'The Murdered Cousin' in a collection of Christmas stories, and finally developed into the three-volume novel we have just noticed.

There are about Le Fanu's narratives touches of nature which reconcile us to their always remarkable and often supernatural incidents. His characters are well conceived and distinctly drawn, and strong soliloquy and easy dialogue spring unaffectedly from their lips. He is a close observer of Nature, and reproduces her wilder effects of storm and gloom with singular vividness; while he is equally at home in his descriptions of still life, some of which remind us of the faithfully minute detail of old Dutch pictures.

Mr. Wilkie Collins, amongst our living novelists, best compares with Le Fanu. Both of these writers are remarkable for the ingenious mystery with which they develop their plots, and for the absorbing, if often over-sensational, nature of their incidents; but whilst Mr. Collins excites and fascinates our attention by an intense power of realism which carries us with unreasoning haste from cover to cover of his works, Le Fanu is an idealist, full of high imagination, and an artist who devotes deep attention to the most delicate detail in his portraiture of men and women, and his descriptions of the outdoor and indoor worlds--a writer, therefore, through whose pages it would be often an indignity to hasten. And this more leisurely, and certainly more classical, conduct of his stories makes us remember them more fully and faithfully than those of the author of the 'Woman in White.' Mr. Collins is generally dramatic, and sometimes stagy, in his effects. Le Fanu, while less careful to arrange his plots, so as to admit of their being readily adapted for the stage, often surprises us by scenes of so much greater tragic intensity that we cannot but lament that he did not, as Mr. Collins has done, attempt the drama, and so furnish another ground of comparison with his fellow-countryman, Maturin (also, if we mistake not, of French origin), whom, in his writings, Le Fanu far more closely resembles than Mr. Collins, as a master of the darker and stronger emotions of human character. But, to institute a broader ground of comparison between Le Fanu and Mr. Collins, whilst the idiosyncrasies of the former's characters, however immaterial those characters may be, seem always to suggest the minutest detail of his story, the latter would appear to consider plot as the prime, character as a subsidiary element in the art of novel writing.

Those who possessed the rare privilege of Le Fanu's friendship, and only they, can form any idea of the true character of the man; for after the death of his wife, to whom he was most deeply devoted, he quite forsook general society, in which his fine features, distinguished bearing, and charm of conversation marked him out as the beau-ideal of an Irish wit and scholar of the old school.

From this society he vanished so entirely that Dublin, always ready with a nickname, dubbed him 'The Invisible Prince;' and indeed he was for long almost invisible, except to his family and most familiar friends, unless at odd hours of the evening, when he might occasionally be seen stealing, like the ghost of his former self, between his newspaper office and his home in Merrion Square; sometimes, too, he was to be encountered in an old out-of-the-way bookshop poring over some rare black letter Astrology or Demonology.

To one of these old bookshops he was at one time a pretty frequent visitor, and the bookseller relates how he used to come in and ask with his peculiarly pleasant voice and smile, 'Any more ghost stories for me, Mr. -----?' and how, on a fresh one being handed to him, he would seldom leave the shop until he had looked it through. This taste for the supernatural seems to have grown upon him after his wife's death, and influenced him so deeply that, had he not been possessed of a deal of shrewd common sense, there might have been danger of his embracing some of the visionary doctrines in which he was so learned. But no! even Spiritualism, to which not a few of his brother novelists succumbed, whilst affording congenial material for our artist of the superhuman to work upon, did not escape his severest satire.

Shortly after completing his last novel, strange to say, bearing the title 'Willing to Die,' Le Fanu breathed his last at his home No. 18, Merrion Square South, at the age of fifty-nine.

'He was a man,' writes the author of a brief memoir of him in the 'Dublin University Magazine,' 'who thought deeply, especially on religious subjects. To those who knew him he was very dear; they admired him for his learning, his sparkling wit, and pleasant conversation, and loved him for his manly virtues, for his noble and generous qualities, his gentleness, and his loving, affectionate nature.' And all who knew the man must feel how deeply deserved are these simple words of sincere regard for Joseph Sheridan Le Fanu.

Le Fanu's novels are accessible to all; but his Purcell Papers are now for the first time collected and published, by the permission of his eldest son (the late Mr. Philip Le Fanu), and very much owing to the friendly and active assistance of his brother, Mr. William Le Fanu.

THE GHOST AND THE BONE SETTER.

In looking over the papers of my late valued and respected friend, Francis Purcell, who for nearly fifty years discharged the arduous duties of a parish priest in the south of Ireland, I met with the following document. It is one of many such; for he was a curious and industrious collector of old local traditions--a commodity in which the quarter where he resided mightily abounded. The collection and arrangement of such legends was, as long as I can remember him, his hobby; but I had never learned that his love of the marvellous and whimsical had carried him so far as to prompt him to commit the results of his inquiries to writing, until, in the character of residuary legatee, his will put me in possession of all his manuscript papers. To such as may think the composing of such productions as these inconsistent with the character and habits of a country priest, it is necessary to observe, that there did exist a race of priests--those of the old school, a race now nearly extinct--whose education abroad tended to produce in them tastes more literary than have yet been evinced by the alumni of Maynooth.

It is perhaps necessary to add that the superstition illustrated by the following story, namely, that the corpse last buried is obliged, during his juniority of interment, to supply his brother tenants of the churchyard in which he lies, with fresh water to allay the burning thirst of purgatory, is prevalent throughout the south of Ireland.

The writer can vouch for a case in which a respectable and wealthy farmer, on the borders of Tipperary, in tenderness to the corns of his departed helpmate, enclosed in her coffin two pair of brogues, a light and a heavy, the one for dry, the other for sloppy weather; seeking thus to mitigate the fatigues of her inevitable perambulations in procuring water and administering it to the thirsty souls of purgatory. Fierce and desperate conflicts have ensued in the case of two funeral parties approaching the same churchyard together, each endeavouring to secure to his own dead priority of sepulture, and a consequent immunity from the tax levied upon the pedestrian powers of the last-comer. An instance not long since occurred, in which one of two such parties, through fear of losing to their deceased friend this inestimable advantage, made their way to the churchyard by a short cut, and, in violation of one of their strongest prejudices, actually threw the coffin over the wall, lest time should be lost in making their entrance through the gate. Innumerable instances of the same kind might be quoted, all tending to show how strongly among the peasantry of the south this superstition is entertained. However, I shall not detain the reader further by any prefatory remarks, but shall proceed to lay before him the following:

Extract from the MS. Papers of the late Rev. Francis Purcell, of Drumcoolagh.

I tell the following particulars, as nearly as I can recollect them, in the words of the narrator. It may be necessary to observe that he was what is termed a well-spoken man, having for a considerable time instructed the ingenious youth of his native parish in such of the liberal arts and sciences as he found it convenient to profess--a circumstance which may account for the occurrence of several big words in the course of this narrative, more distinguished for euphonious effect than for correctness of application. I proceed then, without further preface, to lay before you the wonderful adventures of Terry Neil.

'Why, thin, 'tis a quare story, an' as thrue as you're sittin' there; and I'd make bould to say there isn't a boy in the seven parishes could tell it better nor crickther than myself, for 'twas my father himself it happened to, an' many's the time I heerd it out iv his own mouth; an' I can say, an' I'm proud av that same, my father's word was as incredible as any squire's oath in the counthry; and so signs an' if a poor man got into any unlucky throuble, he was the boy id go into the court an' prove; but that doesn't signify--he was as honest and as sober a man, barrin' he was a little bit too partial to the glass, as you'd find in a day's walk; an' there wasn't the likes of him in the counthry round for nate labourin' an' baan diggin'; and he was mighty handy entirely for carpenther's work, and men din' ould spudethrees, an' the likes i' that. An' so he tuk up with bone-settin', as was most nathural, for none of them could come up to him in mendin' the leg iv a stool or a table; an' sure, there never was a bone-setter got so much custom-man an' child, young an' ould--there never was such breakin' and mendin' of bones known in the memory of man. Well, Terry Neil--for that was my father's name--began to feel his heart growin' light, and his purse heavy; an' he took a bit iv a farm in Squire Phelim's ground, just undher the ould castle, an' a pleasant little spot it was; an' day an' mornin' poor crathurs not able to put a foot to the ground, with broken arms and broken legs, id be comin' ramblin' in from all quarters to have their bones spliced up. Well, yer honour, all this was as well as well could be; but it was customary when Sir Phelim id go anywhere out iv the country, for some iv the tinants to sit up to watch in the ould castle, just for a kind of compliment to the ould family--an' a mighty unplisant compliment it was for the tinants, for there wasn't a man of them but knew there was something quare about the ould castle. The neighbours had it, that the squire's ould grandfather, as good a gintlenlan--God be with him--as I heer'd, as ever stood in shoe-leather, used to keep walkin' about in the middle iv the night, ever sinst he bursted a blood vessel pullin' out a cork out iv a bottle, as you or I might be doin', and will too, plase God--but that doesn't signify. So, as I was sayin', the ould squire used to come down out of the frame, where his picthur was hung up, and to break the bottles and glasses--God be marciful to us all--an' dthrink all he could come at--an' small blame to him for that same; and then if any of the family id be comin' in, he id be up again in his place, looking as quite an' as innocent as if he didn't know anything about it--the mischievous ould chap.