Bøger af Joseph Sheridan Le Fanu

A haunting tale of suspense set in a small English village, where a young woman uncovers the sinister secrets of a mysterious mansion.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This gripping novel tells the story of Guy Deverell, a young man who becomes embroiled in a web of intrigue and scandal in 19th century England. With its twists and turns, the novel keeps the reader guessing until the very end. This book is a must-read for fans of classic literature.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Joseph Thomas Sheridan Le Fanu was born on August 28th, 1814, at 45 Lower Dominick Street, Dublin, into a literary family with Huguenot, Irish and English roots. The children were tutored but, according to his brother William, the tutor taught them little if anything. Le Fanu was eager to learn and used his father's library to educate himself about the world. He was a creative child and by fifteen had taken to writing poetry. Accepted into Trinity College, Dublin to study law he also benefited from the system used in Ireland that he did not have to live in Dublin to attend lectures, but could study at home and take examinations at the university as and when necessary. This enabled him to also write and by 1838 Le Fanu's first story The Ghost and the Bonesetter was published in the Dublin University Magazine. Many of the short stories he wrote at the time were to form the basis for his future novels. Indeed, throughout his career Le Fanu would constantly revise, cannabilise, embellish and re-publish his earlier works to use in his later efforts. Between 1838 and 1840 Le Fanu had written and published twelve stories which purported to be the literary remains of an 18th-century Catholic priest called Father Purcell. Set mostly in Ireland they include classic stories of gothic horror, with grim, shadowed castles, as well as supernatural visitations from beyond the grave, together with madness and suicide. One of the themes running through them is a sad nostalgia for the dispossessed Catholic aristocracy of Ireland, whose ruined castles stand in mute salute and testament to this history. On 18 December 1844 Le Fanu married Susanna Bennett, the daughter of a leading Dublin barrister. The union would produce four children. Le Fanu was now stretching his talents across the length of a novel and his first was The Cock and Anchor published in 1845. A succession of works followed and his reputation grew as well as his income. Unfortunately, a decade after his marriage it became an increasing source of difficultly. Susanna was prone to suffer from a range of neurotic symptoms including great anxiety after the deaths of several close relatives, including her father two years before. In April 1858 she suffered an "hysterical attack" and died in circumstances that are still unclear. The anguish, profound guilt as well as overwhelming loss were channeled into Le Fanu's work. Working only by the light of two candles he would write through the night and burnish his reputation as a major figure of 19th Century supernaturalism. His work challenged the focus on the external source of horror and instead he wrote about it from the perspective of the inward psychological potential to strike fear in the hearts of men. A series of books now came forth: Wylder's Hand (1864), Guy Deverell (1865), The Tenants of Malory (1867), The Green Tea (1869), The Haunted Baronet (1870), Mr. Justice Harbottle (1872), The Room in the Dragon Volant (1872) and In a Glass Darkly. (1872). But his life was drawing to a close. Joseph Thomas Sheridan Le Fanu died in Merrion Square in his native Dublin on February 7th, 1873, at the age of 58.

Joseph Thomas Sheridan Le Fanu was born on August 28th, 1814, at 45 Lower Dominick Street, Dublin, into a literary family with Huguenot, Irish and English roots. The children were tutored but, according to his brother William, the tutor taught them little if anything. Le Fanu was eager to learn and used his father's library to educate himself about the world. He was a creative child and by fifteen had taken to writing poetry. Accepted into Trinity College, Dublin to study law he also benefited from the system used in Ireland that he did not have to live in Dublin to attend lectures, but could study at home and take examinations at the university as and when necessary. This enabled him to also write and by 1838 Le Fanu's first story The Ghost and the Bonesetter was published in the Dublin University Magazine. Many of the short stories he wrote at the time were to form the basis for his future novels. Indeed, throughout his career Le Fanu would constantly revise, cannabilise, embellish and re-publish his earlier works to use in his later efforts. Between 1838 and 1840 Le Fanu had written and published twelve stories which purported to be the literary remains of an 18th-century Catholic priest called Father Purcell. Set mostly in Ireland they include classic stories of gothic horror, with grim, shadowed castles, as well as supernatural visitations from beyond the grave, together with madness and suicide. One of the themes running through them is a sad nostalgia for the dispossessed Catholic aristocracy of Ireland, whose ruined castles stand in mute salute and testament to this history. On 18 December 1844 Le Fanu married Susanna Bennett, the daughter of a leading Dublin barrister. The union would produce four children. Le Fanu was now stretching his talents across the length of a novel and his first was The Cock and Anchor published in 1845. A succession of works followed and his reputation grew as well as his income. Unfortunately, a decade after his marriage it became an increasing source of difficultly. Susanna was prone to suffer from a range of neurotic symptoms including great anxiety after the deaths of several close relatives, including her father two years before. In April 1858 she suffered an "hysterical attack" and died in circumstances that are still unclear. The anguish, profound guilt as well as overwhelming loss were channeled into Le Fanu's work. Working only by the light of two candles he would write through the night and burnish his reputation as a major figure of 19th Century supernaturalism. His work challenged the focus on the external source of horror and instead he wrote about it from the perspective of the inward psychological potential to strike fear in the hearts of men. A series of books now came forth: Wylder's Hand (1864), Guy Deverell (1865), The Tenants of Malory (1867), The Green Tea (1869), The Haunted Baronet (1870), Mr. Justice Harbottle (1872), The Room in the Dragon Volant (1872) and In a Glass Darkly. (1872). But his life was drawing to a close. Joseph Thomas Sheridan Le Fanu died in Merrion Square in his native Dublin on February 7th, 1873, at the age of 58.

There stands about a mile and a half beyond Islington, unless it has come down within the last two years, a singular and grand old house. It belonged to the family of Arden, once distinguished in the Northumbrian counties. About fifty acres of ground, rich with noble clumps and masses of old timber, surround it; old-world fish-ponds, with swans sailing upon them, tall yew hedges, quincunxes, leaden fauns and goddesses, and other obsolete splendours surround it. It rises, tall, florid, built of Caen stone, with a palatial flight of steps, and something of the grace and dignity of the genius of Inigo Jones, to whom it is ascribed, with the shadows of ancestral trees and the stains of two centuries upon it, and a vague character of gloom and melancholy, not improved by some indications not actually of decay, but of something too like neglect.

We are going to talk, if you please, in the ensuing chapters, of what was going on in Chapelizod about a hundred years ago. A hundred years, to be sure, is a good while; but though fashions have changed, some old phrases dropped out, and new ones come in; and snuff and hair-powder, and sacques and solitaires quite passed away-yet men and women were men and women all the same-as elderly fellows, like your humble servant, who have seen and talked with rearward stragglers of that generation-now all and long marched off-can testify, if they will. In those days Chapelizod was about the gayest and prettiest of the outpost villages in which old Dublin took a complacent pride. The poplars which stood, in military rows, here and there, just showed a glimpse of formality among the orchards and old timber that lined the banks of the river and the valley of the Liffey, with a lively sort of richness. The broad old street looked hospitable and merry, with steep roofs and many coloured hall-doors. The jolly old inn, just beyond the turnpike at the sweep of the road, leading over the buttressed bridge by the mill, was first to welcome the excursionist from Dublin, under the sign of the Phoenix. There, in the grand wainscoted back-parlour, with 'the great and good King William, ' in his robe, garter, periwig, and sceptre presiding in the panel over the chimneypiece, and confronting the large projecting window, through which the river, and the daffodils, and the summer foliage looked so bright and quiet, the Aldermen of Skinner's Alley-a club of the 'true blue' dye, as old as the Jacobite wars of the previous century-the corporation of shoemakers, or of tailors, or the freemasons, or the musical clubs, loved to dine at the stately hour of five, and deliver their jokes, sentiments, songs, and wisdom, on a pleasant summer's evening. Alas! the inn is as clean gone as the guests-a dream of the shadow of smoke.

Uncle Silas is a Victorian Gothic mystery/thriller novel by the Anglo-Irish writer J. Sheridan Le Fanu. It is notable as one of the earliest examples of the locked room mystery subgenre. It is not a novel of the supernatural (despite a few creepily ambiguous touches), but does show a strong interest in the occult and in the ideas of Swedenborg.

"When Lust hath conceived, it bringeth forth Sin: and Sin, when it is finished, bringeth forth Death." About sixty years ago, and somewhat more than twenty miles from the ancient town of Chester, in a southward direction, there stood a large, and, even then, an old-fashioned mansion-house. It lay in the midst of a demesne of considerable extent, and richly wooded with venerable timber; but, apart from the somber majesty of these giant groups, and the varieties of the undulating ground on which they stood, there was little that could be deemed attractive in the place. A certain air of neglect and decay, and an indescribable gloom and melancholy, hung over it. In darkness, it seemed darker than any other tract; when the moonlight fell upon its glades and hollows, they looked spectral and awful, with a sort of churchyard loneliness; and even when the blush of the morning kissed its broad woodlands, there was a melancholy in the salute that saddened rather than cheered the heart of the beholder.

The curious case which I am about to place before you, is referred to, very pointedly, and more than once, in the extraordinary Essay upon the Drug of the Dark and the Middle Ages, from the pen of Doctor Hesselius. This Essay he entitles Mortis Imago, and he, therein, discusses the Vinum letiferum, the Beatifica, the Somnus Angelorum, the Hypnus Sagarum, the Aqua Thessalliae, and about twenty other infusions and distillations, well known to the sages of eight hundred years ago, and two of which are still, he alleges, known to the fraternity of thieves, and, among them, as police-office inquiries sometimes disclose to this day, in practical use. The Essay, Mortis Imago, will occupy, as nearly as I can at present calculate, two volumes, the ninth and tenth, of the collected papers of Dr. Martin Hesselius. This Essay, I may remark in conclusion, is very curiously enriched by citations, in great abundance, from medieval verse and prose romance, some of the most valuable of which, strange to say, are Egyptian.

"For he is not a man as I am that we should come together; neither is there any that might lay his hand upon us both. Let him, therefore, take his rod away from me, and let not his fear terrify me." There exists, at this moment, in good preservation a remarkable work of Schalken's. The curious management of its lights constitutes, as usual in his pieces, the chief apparent merit of the picture. I say apparent, for in its subject, and not in its handling, however exquisite, consists its real value. The picture represents the interior of what might be a chamber in some antique religious building; and its foreground is occupied by a female figure, in a species of white robe, part of which is arranged so as to form a veil. The dress, however, is not that of any religious order. In her hand the figure bears a lamp, by which alone her figure and face are illuminated; and her features wear such an arch smile, as well becomes a pretty woman when practising some prankish roguery; in the background, and, excepting where the dim red light of an expiring fire serves to define the form, in total shadow, stands the figure of a man dressed in the old Flemish fashion, in an attitude of alarm, his hand being placed upon the hilt of his sword, which he appears to be in the act of drawing. There are some pictures, which impress one, I know not how, with a conviction that they represent not the mere ideal shapes and combinations which have floated through the imagination of the artist, but scenes, faces, and situations which have actually existed. There is in that strange picture, something that stamps it as the representation of a reality.

The Rev. Mr. Jennings is tall and thin. He is middle-aged, and dresses with a natty, old-fashioned, high-church precision. He is naturally a little stately, but not at all stiff. His features, without being handsome, are well formed, and their expression extremely kind, but also shy. I met him one evening at Lady Mary Heyduke's. The modesty and benevolence of his countenance are extremely prepossessing. We were but a small party, and he joined agreeably enough in the conversation. He seems to enjoy listening very much more than contributing to the talk; but what he says is always to the purpose and well said. He is a great favourite of Lady Mary's, who it seems, consults him upon many things, and thinks him the most happy and blessed person on earth. Little knows she about him.

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On this case Doctor Hesselius has inscribed nothing more than the words, "Harman's Report," and a simple reference to his own extraordinary Essay on "The Interior Sense, and the Conditions of the Opening thereof." The reference is to Vol. I., Section 317, Note ZA. The note to which reference is thus made, simply says: "There are two accounts of the remarkable case of the Honourable Mr. Justice Harbottle, one furnished to me by Mrs. Trimmer, of Tunbridge Wells (June, 1805); the other at a much later date, by Anthony Harman, Esq. I much prefer the former; in the first place, because it is minute and detailed, and written, it seems to me, with more caution and knowledge; and in the next, because the letters from Dr. Hedstone, which are embodied in it, furnish matter of the highest value to a right apprehension of the nature of the case.

Sheridan Le Fanu was born at No. 45 Lower Dominick Steet, Dublin, into a literary family of Huguenot origins. Both his grandmother Alicia Sheridan Le Fanu and his great-uncle Richard Brinsley Sheridan were playwrights. His niece Rhoda Broughton would become a very successful novelist. Within a year of his birth his family moved to the Royal Hibernian Military School in Phoenix Park, where his father, an Anglican clergyman, was the chaplain of the establishment. Phoenix Park and the adjacent village and parish church of Chapelizod were to feature in Le Fanu's later stories. Le Fanu studied law at Trinity College in Dublin, where he was elected Auditor of the College Historical Society. He was called to the bar in 1839, but he never practised and soon abandoned law for journalism. In 1838 he began contributing stories to the Dublin University Magazine, including his first ghost story, entitled "A Strange Event in the Life of Schalken the Painter"

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A noble Huguenot family, owning considerable property in Normandy, the Le Fanus of Caen, were, upon the revocation of the Edict of Nantes, deprived of their ancestral estates of Mandeville, Sequeville, and Cresseron; but, owing to their possessing influential relatives at the court of Louis the Fourteenth, were allowed to quit their country for England, unmolested, with their personal property. We meet with John Le Fanu de Sequeville and Charles Le Fanu de Cresseron, as cavalry officers in William the Third's army; Charles being so distinguished a member of the King's staff that he was presented with William's portrait from his master's own hand. He afterwards served as a major of dragoons under Marlborough.

The Tenants of Malory By Joseph Sheridan Le Fanu

Joseph Thomas Sheridan Le Fanu was an Irish writer of Gothic tales and mystery novels. He was the leading ghost-story writer of the nineteenth century and was central to the development of the genre in the Victorian era. M. R. James described Le Fanu as "absolutely in the first rank as a writer of ghost stories

I say I know this; I could prove it to your own conviction." He paused for a minute, and then added, "And as to accosting it, I dare not, I could not; when I see it I am powerless; I stand in the gaze of death, in the triumphant presence of infernal power and malignity. My strength, and faculties, and memory, all forsake me. O God, I fear, sir, you know not what you speak of. Mercy, mercy; heaven have pity on me!"

"The Room in the Dragon Volant" is a novella written by Joseph Sheridan Le Fanu, an Irish writer known for his contributions to the Gothic and supernatural fiction genres. Originally serialized in 1872, this atmospheric tale is set in post-Napoleonic France and blends elements of mystery, romance, and the macabre.The story follows the adventures of Richard Beckett, an Englishman traveling to Paris. Beckett, recently released from a betrothal he was reluctant to enter, finds himself entangled in a series of mysterious events upon arriving at an inn called the Dragon Volant. The narrative unfolds through Beckett's first-person account, adding a sense of immediacy and intimacy to the storytelling.As Beckett becomes a guest at the inn, he discovers that the room he is assigned has a mysterious reputation. Rumors and local legends surround the Dragon Volant, and Beckett soon finds himself drawn into a web of intrigue that involves secret passages, hidden identities, and a beautiful but enigmatic young woman named Pauline.Le Fanu skillfully weaves an atmosphere of suspense and unease, creating a sense of foreboding as Beckett navigates the strange occurrences in the Dragon Volant. The novella explores themes of fate, the supernatural, and the impact of historical events on personal lives."The Room in the Dragon Volant" is celebrated for its Gothic elements, including its use of gloomy settings, supernatural occurrences, and psychological tension. Le Fanu's storytelling is characterized by its intricate plot, rich characterizations, and a gradual unfolding of the mysteries that surround the inn and its inhabitants.This novella is a fine example of Le Fanu's contribution to Victorian-era Gothic literature, and it continues to be appreciated for its atmospheric storytelling and its ability to evoke a sense of mystery and suspense.

Sheridan Le Fanu's Carmilla, the original vampire tale that predates Dracula by twenty-five years, has captivated readers for generations. This atmospheric and gripping novel explores a realm where fear and fascination intertwine, where the mysteries of the undead intrude upon the ordinary lives of innocents. Set against the backdrop of a remote European castle, this chilling narrative explores themes of forbidden love, the supernatural, and the darkness that lies within the human soul. Carmilla stands as the cornerstone of vampire literature, inspiring countless adaptations in movies and television and shaping the iconic vampire mythos we know today. This Warbler Classics edition includes an essay on Camilla by Roger Dodson and a biographical timeline.

"Checkmate" is a novel written by Joseph Sheridan Le Fanu, an Irish author known for his works of gothic and supernatural fiction. Originally published in 1871 as a serialized story in "The Dublin University Magazine," the novel is set in Ireland and explores complex relationships and intrigues among its characters. It combines elements of gothic and psychological fiction, delving into themes of love, betrayal, and the consequences of one's actions. As with many of Le Fanu's works, "Checkmate" features mysterious and enigmatic characters who play pivotal roles in the unfolding drama. While it may not be as well-known as some of Le Fanu's other works, it remains a notable contribution to the gothic fiction genre and Victorian-era literature.