That saturation must, as a matter of plain scientific fact, be regarded as virtually permanent so far as the subconscious mind and inner instincts are concerned; for though the area of the unknown has been steadily contracting for thousands of years, an infinite reservoir of mystery still engulfs most of the outer cosmos, whilst a vast residuum of powerful inherited associations clings around all the objects and processes that were once mysterious, however well they may now be explained.Tags: Mathematics Problem Solving ActivitiesRip Van Winkle EssayThinking Critically And CreativelyCollege Homework Help SitesBusiness School Mba Application EssaysA Quick Reference To Essay Writing By Steven SternA Clockwork Orange Belonging EssayArgument Essay Topics For Middle School
This type of fear-literature must not be confounded with a type externally similar but psychologically widely different; the literature of mere physical fear and the mundanely gruesome.
Such writing, to be sure, has its place, as has the conventional or even whimsical or humorous ghost story where formalism or the author’s knowing wink removes the true sense of the morbidly unnatural; but these things are not the literature of cosmic fear in its purest sense.
Naturally we cannot expect all weird tales to conform absolutely to any theoretical model.
Creative minds are uneven, and the best of fabrics have their dull spots.
Thus Dickens wrote several eerie narratives; Browning, the hideous poem “Childe Roland”; Henry James, The Turn of the Screw; Dr. Marion Crawford, “The Upper Berth” and a number of other examples; Mrs.
Charlotte Perkins Gilman, social worker, “The Yellow Wall Paper”; whilst the humourist W. Jacobs produced that able melodramatic bit called “The Monkey’s Paw”.The unknown, being likewise the unpredictable, became for our primitive forefathers a terrible and omnipotent source of boons and calamities visited upon mankind for cryptic and wholly extra-terrestrial reasons, and thus clearly belonging to spheres of existence whereof we know nothing and wherein we have no part.The phenomenon of dreaming likewise helped to build up the notion of an unreal or spiritual world; and in general, all the conditions of savage dawn-life so strongly conduced toward a feeling of the supernatural, that we need not wonder at the thoroughness with which man’s very hereditary essence has become saturated with religion and superstition.When to this sense of fear and evil the inevitable fascination of wonder and curiosity is superadded, there is born a composite body of keen emotion and imaginative provocation whose vitality must of necessity endure as long as the human race itself.Children will always be afraid of the dark, and men with minds sensitive to hereditary impulse will always tremble at the thought of the hidden and fathomless worlds of strange life which may pulsate in the gulfs beyond the stars, or press hideously upon our own globe in unholy dimensions which only the dead and the moonstruck can glimpse.Because we remember pain and the menace of death more vividly than pleasure, and because our feelings toward the beneficent aspects of the unknown have from the first been captured and formalised by conventional religious rituals, it has fallen to the lot of the darker and more maleficent side of cosmic mystery to figure chiefly in our popular supernatural folklore.This tendency, too, is naturally enhanced by the fact that uncertainty and danger are always closely allied; thus making any kind of an unknown world a world of peril and evil possibilities.Against it are discharged all the shafts of a materialistic sophistication which clings to frequently felt emotions and external events, and of a naively insipid idealism which deprecates the aesthetic motive and calls for a didactic literature to uplift the reader toward a suitable degree of smirking optimism.But in spite of all this opposition the weird tale has survived, developed, and attained remarkable heights of perfection; founded as it is on a profound and elementary principle whose appeal, if not always universal, must necessarily be poignant and permanent to minds of the requisite sensitiveness.Moreover, much of the choicest weird work is unconscious; appearing in memorable fragments scattered through material whose massed effect may be of a very different cast.Atmosphere is the all-important thing, for the final criterion of authenticity is not the dovetailing of a plot but the creation of a given sensation.