Bøger af Joseph Sheridan Le Fanu

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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.

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The vampire novella "Carmilla" set in Austria is one of Le Fanu's best tales and greatly influenced Bram Stocker, who published Dracula 25 years later. This is definitively a great book and a must for the lovers of horror tales.

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.

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" (1839). He became owner of several newspapers from 1840, including the Dublin Evening Mail and the Warder.

The pretty little posting station, known as the Plough Inn, on the Old London Road, where the Sterndale Road crosses it, was in a state of fuss and awe, at about five o'clock on a fine sharp October evening, for Sir Jekyl Marlowe, a man of many thousand acres, and M.P. for the county, was standing with his back to the fire, in the parlour, whose bow-window looks out on the ancient thoroughfare I have mentioned, over the row of scarlet geraniums which beautify the window-stone. "Hollo!" cried the Baronet, as the bell-rope came down in answer to an energetic but not angry pull, and he received Mrs. Jones, his hostess, who entered at the moment, with the dismantled bell-handle still in his hand. "At my old tricks, you see. I've been doing you a mischief, hey? but we'll set it right in the bill, you know. How devilish well you look! wonderful girl, by Jove! Come in, my dear, and shut the door. Not afraid of me. I want to talk of ducks and mutton-chops. I've had no luncheon, and I'm awfully hungry," said the comely Baronet in a continued chuckle.

The Tenants of Malory By Joseph Sheridan Le Fanu

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.

It was late in the autumn, and I was skimming along, through a rich English county, in a postchaise, among tall hedgerows gilded, like all the landscape, with the slanting beams of sunset. The road makes a long and easy descent into the little town of Gylingden, and down this we were going at an exhilarating pace, and the jingle of the vehicle sounded like sledge-bells in my ears, and its swaying and jerking were pleasant and life-like. I fancy I was in one of those moods which, under similar circumstances, I sometimes experience still-a semi-narcotic excitement, silent but delightful.

Carmilla (1872), de Joseph Sheridan Le Fanu, y El Vampiro (1819), de John William Polidori, son, de forma indiscutible, las dos obras que dieron origen a la figura romántica del Vampiro y a la literatura moderna de temática vampírica. En ambas obras pueden encontrarse escenas míticas, reproducidas en multitud de narraciones de vampiros posteriores, tanto en la literatura como en el cine. Entre las obras posteriores que se inspiraron en estas dos historias, destacan Drácula, de Bram Stoker, y La Sangue del Vampiro, de Florence Marryat, que, siguiendo los pasos de Polidori y Le Fanu, desarrollaron la temática del vampirismo en novelas de mayor calibre. CARMILLA: "Laura y su padre llevan una vida tranquila en un remoto castillo de los densos bosques de Estiria. Es una existencia solitaria para la joven Laura, que no tiene más compañía que la de sus institutrices y las ocasionales visitas de los nobles del lugar. En esta vida solitaria, llega una misteriosa huésped a la casa: Carmilla. Poco a poco, Laura parece caer bajo el hechizo de la bella Carmilla. A pesar de sentirse atraída por ella, Laura siente una extraña repulsión; sin embargo, es incapaz de resistirse... Una serie de muertes súbitas afligen a los campesinos de los alrededores, hasta que la propia Laura cae presa de la extraña enfermedad. ¿Lograrán descubrir a tiempo la causa de su enfermedad o será la última víctima del misterioso vampiro?" EL VAMPIRO: "Aubrey, un joven caballero huérfano en posesión de una gran fortuna, llega a Londres para pasar una temporada. Allí conoce al misterioso Lord Ruthven, con quien entabla amistad. Al descubrir que Ruthven está planeando un viaje a Europa, Aubrey decide viajar con él para conocer mundo y las vicisitudes de la sociedad. Cuanto más tiempo pasa Aubrey con Ruthven, más turbios le parecen su comportamiento y sus ideales... Por ello, Aubrey decide distanciarse de Ruthven; pero, ¿será demasiado tarde para salvar a sus seres queridos de la sed del vampiro?"

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.

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.

First, I must tell you how I intend to relate my story. Having never before undertaken to write a long narrative, I have considered and laid down a few rules which I shall observe. Some of these are unquestionably good; others, I daresay, offend against the canons of composition; but I adopt them, because they will enable me to tell my story better than, with my imperfect experience, better rules possibly would. In the first place, I shall represent the people with whom I had to deal quite fairly. I have met some bad people, some indifferent, and some who at this distance of time seem to me like angels in the unchanging light of heaven. My narrative shall be arranged in the order of the events; I shall not recapitulate or anticipate. What I have learned from others, and did not witness, that which I narrate, in part, from the hints of living witnesses, and, in part, conjecturally, I shall record in the historic third person; and I shall write it down with as much confidence and particularity as if I had actually seen it; in that respect imitating, I believe, all great historians, modern and ancient. But the scenes in which I have been an actor, that which my eyes have seen, and my ears heard, I will relate accordingly. If I can be clear and true, my clumsiness and irregularity, I hope, will be forgiven me. ________________________________________

Some time within the first ten years of the last century, there stood in the fair city of Dublin, and in one of those sinuous and narrow streets which lay in the immediate vicinity of the Castle, a goodly and capacious hostelry, snug and sound, and withal carrying in its aspect something staid and aristocratic, and perhaps in nowise the less comfortable that it was rated, in point of fashion, somewhat obsolete. Its structure was quaint and antique; so much so, that had its counterpart presented itself within the precincts of "the Borough," it might fairly have passed itself off for the genuine old Tabard of Geoffry Chaucer. The front of the building, facing the street, rested upon a row of massive wooden blocks, set endwise, at intervals of some six or eight feet, and running parallel at about the same distance, to the wall of the lower story of the house, thus forming a kind of rude cloister or open corridor, running the whole length of the building.

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.

"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.

Mr. Justice Harbottle is a classic mystery novel written by J. Sheridan Le Fanu. The story follows the life of a corrupt judge, Mr. Justice Harbottle, who is known for his harsh and unjust rulings. However, his past catches up with him when he receives a series of threatening letters that seem to be linked to a crime he committed years ago. As the letters become more menacing and the judge's guilt begins to consume him, he starts to see ghosts and experience strange occurrences. With the help of a young lawyer, Harbottle sets out to uncover the truth behind the letters and the crime he committed. The novel is filled with suspense, intrigue, and supernatural elements that keep readers on the edge of their seats until the very end. Le Fanu's writing style is gripping and atmospheric, making Mr. Justice Harbottle a must-read for fans of classic mystery and horror novels.The bloated and gouty old man, in his horror, considered the question of resistance. But his athletic days were long over. This moor was a desert. There was no help to be had. He was in the hands of strange servants, even if his recognition turned out to be delusion, and they were under the command of his captors. There was nothing for it but submission, for the present.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

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.

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.

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.

Uncle Silas, subtitled "A Tale of Bartram-Haugh", is a Victorian Gothic mystery-thriller novel by the Irish writer J. Sheridan Le Fanu. Despite Le Fanu resisting its classification as such, the novel has also been hailed as a work of sensation fiction by contemporary reviewers and modern critics alike. It is an early example of the locked room mystery subgenre, rather than 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 Emanuel Swedenborg, a Swedish scientist, philosopher and Christian mystic. Like many of Le Fanu's novels, Uncle Silas grew out of an earlier short story, in this case "A Passage in the Secret History of an Irish Countess" (1839), which he also published as "The Murdered Cousin" in the collection Ghost Stories and Tales of Mystery (1851). While this earlier story was set in Ireland, the novel's action takes place in Derbyshire; the author Elizabeth Bowen was the first to identify a distinctly Irish sub-text to the novel, however, in spite of its English setting. It was first serialized in the Dublin University Magazine in 1864, under the title Maud Ruthyn and Uncle Silas, and appeared in December of the same year as a three-volume novel from the London publisher Richard Bentley. Several changes were made from the serialization to the volume edition, such as resolving the inconsistencies of names.

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.

There were tenants at last in Malory; and the curiosity of the honest residents of Cardyllian, the small and antique town close by, was at once piqued and mortified by the unaccountable reserve of these people. For four years, except from one twisted chimney in the far corner of the old house, no smoke had risen from its flues. Tufts of grass had grown up between the paving-stones of the silent stable-yard, grass had crept over the dark avenue, which, making a curve near the gate, is soon lost among the sombre trees that throw a perpetual shadow upon it; the groves of nettles had spread and thickened among their trunks; and in the signs of neglect and decay, the monastic old place grew more than ever triste. The pretty little Welsh town of Cardyllian stands near the shingle of a broad estuary, beyond which tower the noble Cambrian mountains. High and dim, tier above tier, undulating hills, broken by misty glens, and clothed with woods, rise from the opposite shore, and are backed, range behind range, by the dim outlines of Alpine peaks and slopes, and flanked by purple and gold-tinted headlands, rising dome-like from the sea.