Stories of Mystery — Context and Discussion

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Johnson, Rossiter, 1840-1931 [Editor] Project Gutenberg 2005 Not confirmed
Short stories; Literature -- Collections; Mystery fiction Readers of public-domain and historical texts
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Words 65,253
Reading time 284 min
Text sections 6

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Rossiter Johnson's 1874 anthology of mystery stories, including works by Dickens, Hawthorne, and Edwards, showcases 19th-century narrative techniques in supernatural and psychological suspense.
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She had grown pale, and her voice quivered. The phantom glided over to them, and laid its spectral hand upon her forehead. The shadowy eyes looked from under the misty hair into the doctor's face, and the pale lips moved as if speaking the words heard only in the silence of his heart,--"Hear her, hear her!"

"I must think of it," resumed Dr. Renton, coldly. "I'm resolved, at all events, to warn him that if anything of this kind occurs again, he must quit at once. I dislike to lose a profitable tenant; for no other business would bring me the sum his does. Hang it, everybody does the best he can with his property,--why shouldn't I?"

The ghost, standing near them, drooped its head again on its breast, and crossed its arms. Netty was silent. Dr. Renton continued, petulantly,--

"A precious set of people I manage to get into my premises. There's a woman hires a couple of rooms for a dwelling, overhead, in that same building, and for three months I haven't got a cent from her. I know these people's tricks. Her month's notice expires to-morrow, and out she goes."

"Poor creature!" sighed Netty.

He knit his brow, and beat the carpet with his foot, in vexation.

"Perhaps she can't pay you, pa," trembled the sweet, silvery voice. "You wouldn't turn her out in this cold winter, when she can't pay you,--would you, pa?"

"Why don't she get another house, and swindle some one else?" he replied, testily; "there's plenty of rooms to let."

"Perhaps she can't find one, pa," answered Netty.

"Humbug!" retorted her father; "I know better."

"Pa, dear, if I were you, I'd turn out that rumseller, and let the poor woman stay a little longer; just a little, pa."

"Sha'n't do it. Hah! that would be scattering money out of both pockets. Sha'n't do it. Out she shall go; and as for him,--well, he'd better turn over a new leaf. There, let us leave the subject, darling. It vexes me. How did we contrive to get into this train? Bah!"

He drew her closer to him, and kissed her forehead. She sat quietly, with her head on his shoulder, thinking very gravely.

"I feel queerly to-day, little Netty," he began, after a short pause. "My nerves are all high-strung with the turn matters have taken."

"How is it, papa? The headache?" she answered.

"Y-e-s--n-o--not exactly; I don't know," he said dubiously; then, in an absent way, "it was that letter set me to think of him all day, I suppose."

"Why, pa, I declare," cried Netty, starting up, "if I didn't forget all about it, and I came down expressly to give it to you! Where is it? Oh! here it is."

She drew from her pocket an old letter, faded to a pale yellow, and gave it to him. The ghost started suddenly.

"Why, bless my soul! it's the very letter! Where did you get that, Nathalie?" asked Dr. Renton.

"I found it on the stairs after dinner, pa."

"Yes, I do remember taking it up with me; I must have dropped it," he answered, musingly, gazing at the superscription. The ghost was gazing at it, too, with startled interest.

"What beautiful writing it is, pa," murmured the young girl. "Who wrote it to you? It looks yellow enough to have been written a long time since."

"Fifteen years ago, Netty. When you were a baby. And the hand that wrote it has been cold for all that time."

He spoke with a solemn sadness, as if memory lingered with the heart of fifteen years ago, on an old grave. The dim figure by his side had bowed its head, and all was still.

"It is strange," he resumed, speaking vacantly and slowly, "I have not thought of him for so long a time, and to-day--especially this evening--I have felt as if he were constantly near me. It is a singular feeling."

He put his left hand to his forehead, and mused,--his right clasped his daughter's shoulder. The phantom slowly raised its head, and gazed at him with a look of unutterable tenderness.

"Who was he, father?" she asked with a hushed voice.

"A young man, an author, a poet. He had been my dearest friend, when we were boys; and, though I lost sight of him for years,--he led an erratic life,--we were friends when he died. Poor, poor fellow! Well, he is at peace."

The stern voice had saddened, and was almost tremulous. The spectral form was still.

"How did he die, father?"

"A long story, darling," he replied, gravely, "and a sad one. He was very poor and proud. He was a genius,--that is, a person without an atom of practical talent. His parents died, the last, his mother, when he was near manhood. I was in college then. Thrown upon the world, he picked up a scanty subsistence with his pen, for a time. I could have got him a place in the counting-house, but he would not take it; in fact, he wasn't fit for it. You can't harness Pegasus to the cart, you know. Besides, he despised mercantile life, without reason, of course; but he was always notional. His love of literature was one of the rocks he foundered on. He was n't successful; his best compositions were too delicate, fanciful, to please the popular taste; and then he was full of the radical and fanatical notions which infected so many people at that time in New England, and infect them now, for that matter; and his sublimated, impracticable ideas and principles, which he kept till his dying day, and which, I confess, alienated me from him, always staved off his chances of success. Consequently, he never rose above the drudgery of some employment on newspapers. Then he was terribly passionate, not without cause, I allow; but it wasn't wise. What I mean is this: if he saw, or if he fancied he saw, any wrong or injury done to any one, it was enough to throw him into a frenzy; he would get black in the face and absolutely shriek out his denunciations of the wrong-doer. I do believe he would have visited his own brother with the most unsparing invective, if that brother had laid a harming finger on a street-beggar, or a colored man, or a poor person of any kind. I don't blame the feeling; though with a man like him it was very apt to be a false or mistaken one; but, at any rate, its exhibition wasn't sensible. Well, as I was saying, he buffeted about in this world a long time, poorly paid, fed, and clad; taking more care of other people than he did of himself. Then mental suffering, physical exposure, and want killed him."

The stern voice had grown softer than a child's. The same look of unutterable tenderness brooded on the mournful face of the phantom by his side; but its thin, shining hand was laid upon his head, and its countenance had undergone a change. The form was still undefined; but the features had become distinct. They were those of a young man, beautiful and wan, and marked with great suffering.

A pause had fallen on the conversation, in which the father and daughter heard the solemn sighing of the wintry wind around the dwelling. The silence seemed scarcely broken by the voice of the young girl.

"Dear father, this was very sad. Did you say he died of want?"

"Of want, my child, of hunger and cold. I don't doubt it. He had wandered about, as I gather, houseless for a couple of days and nights. It was in December, too. Some one found him, on a rainy night, lying in the street, drenched and burning with fever, and had him taken to the hospital. It appears that he had always cherished a strange affection for me, though I had grown away from him; and in his wild ravings he constantly mentioned my name, and they sent for me. That was our first meeting after two years. I found him in the hospital--dying. Heaven can witness that I felt all my old love for him return then, but he was delirious, and never recognized me. And, Nathalie, his hair,--it had been coal-black, and he wore it very long,--he wouldn't let them cut it either; and as they knew no skill could save him, they let him have his way,--his hair was then as white as snow! God alone knows what that brain must have suffered to blanch hair which had been as black as the wing of a raven!"

He covered his eyes with his hand, and sat silently. The fingers of the phantom still shone dimly on his head, and its white locks drooped above him, like a weft of light.

"What was his name, father?" asked the pitying girl.

"George Feval. The very name sounds like fever. He died on Christmas eve, fifteen years ago this night. It was on his death-bed, while his mind was tossing on a sea of delirious fancies, that he wrote me this long letter,--for to the last, I was uppermost in his thoughts. It is a wild, incoherent thing, of course,--a strange mixture of sense and madness. But I have kept it as a memorial of him. I have not looked at it for years; but this morning I found it among my papers, and somehow it has been in my mind all day."

He slowly unfolded the faded sheets, and sadly gazed at the writing. His daughter had risen from her half-recumbent posture, and now bent her graceful head over the leaves. The phantom covered its face with its hands.

"What a beautiful manuscript it is, father!" she exclaimed. "The writing is faultless."

"It is, indeed," he replied. "Would he had written his life as fairly!"

"Read it, father," said Nathalie.

"No, but I'll read you a detached passage here and there," he answered, after a pause. "The rest you may read yourself some time, if you wish. It is painful to me. Here's the beginning:--

"'_My Dear Charles Renton:--Adieu, and adieu. It is Christmas eve, and I am going home. I am soon to exhale from my flesh, like the spirit of a broken flower. Exultemus forever!_'

"It is very wild. His mind was in a fever-craze. Here is a passage that seems to refer to his own experience of life:--

"'_Your friendship was dear to me. I give you true love. Stocks and returns. You are rich, but I did not wish to be your bounty's pauper. Could I beg? I had my work to do for the world, but oh! the world has no place for souls that can only love and suffer. How many miles to Babylon? Threescore and ten. Not so far--not near so far! Ask starvelings--they know._

_I wanted to do the world good, and the world has killed me, Charles._'"

"It frightens me," said Nathalie, as he paused.

"We will read no more," he replied sombrely. "It belongs to the psychology of madness. To me, who knew him, there are gleams of sense in it, and passages where the delirium of the language is only a transparent veil on the meaning. All the remainder is devoted to what he thought important advice to me. But it's all wild and vague. Poor--poor George!"

The phantom still hid its face in its hands, as the doctor slowly turned over the pages of the letter. Nathalie, bending over the leaves, laid her finger on the last, and asked, "What are those closing sentences, father? Read them."

"Oh! that is what he called his 'last counsel' to me. It's as wild as the rest,--tinctured with the prevailing ideas of his career. First he says, '_Farewell--farewell_'; then he bids me take his '_counsel into memory on Christmas day_'; then after enumerating all the wretched classes he can think of in the country, he says: '_These are your sisters and your brothers,--love them all._' Here he says, '_O friend, strong in wealth for so much good, take my last counsel. In the name of the Saviour, I charge you be true and tender to mankind._' He goes on to bid me '_live and labor for the fallen, the neglected, the suffering, and the poor_'; and finally ends by advising me to help upset any, or all, institutions, laws, and so forth, that bear hardly on the fag-ends of society; and tells me that what he calls 'a service to humanity' is worth more to the doer than a service to anything else, or than anything we can gain from the world. Ah, well! poor George."

"But isn't all that true, father?" said Netty; "it seems so."

"H'm," he murmured through his closed lips. Then, with a vague smile, folding up the letter, meanwhile, he said, "Wild words, Netty, wild words. I've no objection to charity, judiciously given; but poor George's notions are not mine. Every man for himself, is a good general rule. Every man for humanity, as George has it, and in his acceptation of the principle, would send us all to the almshouse pretty soon. The greatest good of the greatest number,--that's my rule of action. There are plenty of good institutions for the distressed, and I'm willing to help support 'em, and do. But as for making a martyr of one's self, or tilting against the necessary evils of society, or turning philanthropist at large, or any quixotism of that sort, I don't believe in it. We didn't make the world, and we can't mend it. Poor George. Well--he's at rest. The world was n't the place for him."

They grew silent. The spectre glided slowly to the wall, and stood as if it were thinking what, with Dr. Renton's rule of action, was to become of the greatest good of the smallest number. Nathalie sat on her father's knee, thinking only of George Feval, and of his having been starved and grieved to death.

"Father," said Nathalie, softly, "I felt, while you were reading the letter, as if he were near us. Didn't you? The room was so light and still, and the wind sighed so."

"Netty, dear, I've felt that all day, I believe," he replied. "Hark! there is the door-bell. Off goes the spirit-world, and here comes the actual. Confound it! Some one to see me, I'll warrant, and I'm not in the mood."

He got into a fret at once. Netty was not the Netty of an hour ago, or she would have coaxed him out of it. But she did not notice it now in her abstraction. She had risen at the tinkle of the bell, and seated herself in a chair. Presently a nose, with a great pimple on the end of it, appeared at the edge of the door, and a weak, piping voice said, reckless of the proper tense, "There was a woman wanted to see you, sir."

"Who is it, James?--no matter, show her in."

He got up with the vexed scowl on his face, and walked the room. In a minute the library door opened again, and a pale, thin, rigid, frozen-looking little woman, scantily clad, the weather being considered, entered, and dropped a curt, awkward bow to Dr. Renton.

"O, Mrs. Miller! Good evening, ma'am. Sit down," he said, with a cold, constrained civility.

The little woman faintly said, "Good evening, Dr. Renton," and sat down stiffly, with her hands crossed before her, in the chair nearest the wall. This was the obdurate tenant, who had paid no rent for three months, and had a notice to quit, expiring to-morrow.

"Cold evening, ma'am," remarked Dr. Renton, in his hard way.

"Yes, sir, it is," was the cowed, awkward answer.

"Won't you sit near the fire, ma'am?" said Netty, gently; "you look cold."

"No, miss, thank you. I'm not cold," was the faint reply. She was cold, though, as well she might be with her poor, thin shawl, and open bonnet, in such a bitter night as it was outside. And there was a rigid, sharp, suffering look in her pinched features that betokened she might have been hungry, too. "Poor people don't mind the cold weather, miss," she said, with a weak smile, her voice getting a little stronger. "They have to bear it, and they get used to it."

She had not evidently borne it long enough to effect the point of indifference. Netty looked at her with a tender pity. Dr. Renton thought to himself, Hoh!--blazoning her poverty,--manufacturing sympathy already,--the old trick; and steeled himself against any attacks of that kind, looking jealously, meanwhile, at Netty.

"Well, Mrs. Miller," he said, "what is it this evening? I suppose you've brought me my rent."

The little woman grew paler, and her voice seemed to fail on her quivering lips. Netty cast a quick, beseeching look at her father.

"Nathalie, please to leave the room." We'll have no nonsense carried on here, he thought, triumphantly, as Netty rose, and obeyed the stern, decisive order, leaving the door ajar behind her.

He seated himself in his chair, and resolutely put his right leg up to rest on his left knee. He did not look at his tenant's face, determined that her piteous expressions (got up for the occasion, of course) should be wasted on him.

"Well, Mrs. Miller," he said again.

"Dr. Renton," she began, faintly gathering her voice as she proceeded, "I have come to see you about the rent. I am very sorry, sir, to have made you wait, but we have been unfortunate."

"Sorry, ma'am," he replied, knowing what was coming; "but your misfortunes are not my affair. We all have misfortunes, ma'am. But we must pay our debts, you know."

"I expected to have got money from my husband before this, sir," she resumed, "and I wrote to him. I got a letter from him to-day, sir, and it said that he sent me fifty dollars a month ago, in a letter; and it appears that the post-office is to blame, or somebody, for I never got it. It was nearly three months' wages, sir, and it is very hard to lose it. If it had n't been for that your rent would have been paid long ago, sir."

"Don't believe a word of _that_ story," thought Dr. Renton, sententiously.

"I thought, sir," she continued, emboldened by his silence, "that if you would be willing to wait a little longer, we would manage to pay you soon, and not let it occur again. It has been a hard winter with us, sir; firing is high, and provisions, and everything; and we're only poor people, you know, and it's difficult to get along."

The doctor made no reply.

"My husband was unfortunate, sir, in not being able to get employment here," she resumed; "his being out of work in the autumn, threw us all back, and we've got nothing to depend on but his earnings. The family that he's in now, sir, don't give him very good pay,--only twenty dollars a month, and his board,--but it was the best chance he could get, and it was either go to Baltimore with them, or stay at home and starve, and so he went, sir. It's been a hard time with us, and one of the children is sick, now, with a fever, and we don't hardly know how to make out a living. And so, sir, I have come here this evening, leaving the children alone, to ask you if you wouldn't be kind enough to wait a little longer, and we'll hope to make it right with you in the end."

"Mrs. Miller," said Dr. Renton, with stern composure, "I have no wish to question the truth of any statement you may make; but I must tell you plainly, that I can't afford to let my houses for nothing. I told you a month ago, that if you couldn't pay me my rent, you must vacate the premises. You know very well that there are plenty of tenants who are able and willing to pay when the money comes due. You _know_ that."

He paused as he said this, and, glancing at her, saw her pale lips falter. It shook the cruelty of his purpose a little, and he had a vague feeling that he was doing wrong. Not without a proud struggle, during which no word was spoken, could he beat it down. Meanwhile, the phantom had advanced a pace toward the centre of the room.

The eight stories in this volume, selected by editor Rossiter Johnson for the Little Classics series, share a preoccupation with the boundary between the seen and the unseen. In William D. O'Connor's opening tale, Beacon Hill's houses are described as having 'an air about them as if they had thrust their hard hands into their wealthy pockets forever'—a personification that immediately establishes a world where the inanimate may harbor intent. The collection's authors employ varied strategies: Amelia B. Edwards uses the precise timetable of a railway ghost, while Nathaniel Hawthorne's allegorical mode in 'The Birthmark' treats physical imperfection as a moral puzzle. Across the selections, mystery emerges not from gothic trappings alone but from the collision of ordinary settings with inexplicable events.

Diction and the Architecture of Unease

O'Connor's description of Bowdoin Street as having a 'shady, grave, old-fogy, fossil aspect, just touched with a pensive solemnity' reveals how the editor's choices favor cumulative, almost architectural language to build atmosphere. The street itself is treated as a sentient entity, 'thinking to itself'—a subtle anthropomorphism that primes the reader for supernatural intrusion. Similarly, Charles Dickens's signal-man is introduced through the narrator's careful observation of his 'figure of a man' before the figure is confirmed as human. This hesitation in naming, the delay between perception and identification, becomes a structural device across the collection: the uncanny often resides in the gap between what is seen and what is understood.

Dialogue as a Vehicle for Dread

In Dickens's 'The Signal-Man,' the engine-driver's shouted warning—'Below there! Look out! Look out! For God's sake, clear the way!'—is later revealed to echo the very words the signal-man had reported as a haunting. The dialogue thus serves a dual function: it is both a realistic cry and a supernatural repetition. Amelia B. Edwards's 'The Four-Fifteen Express' likely employs similar techniques of reported speech to blur the line between testimony and hallucination. The excerpts show that these authors use direct speech not merely to advance plot but to create aural patterns that linger, making the reader complicit in the characters' uncertainty about what has been heard.

Setting as a Character in Miniature

Allan Cunningham's 'The Haunted Ships' opens with a geographical survey of the Solway coast, distinguishing between 'the inland traditions of the peasants' and maritime tales bearing 'the stamp of the Dane and the Norseman.' This attention to regional specificity grounds the supernatural in a particular landscape. O'Connor's Beacon Hill is similarly precise: the streets are named, the history of Mr. Middlecott's bequest is recounted, and the houses are given class markers. The collection's settings are never generic; they are thick with social and historical detail that makes the intrusion of the inexplicable more jarring. The editor's selection favors stories where place is not backdrop but active participant.

Recurring Motifs: The Unreliable Witness

Several stories in this volume hinge on a narrator or character who must interpret ambiguous sensory data. In 'The Signal-Man,' the narrator attaches his own words to the signal-man's gesticulation, a detail the closing paragraph calls 'the coincidence' that the warning included 'not only the words which the unfortunate signal-man had repeated to me as haunting him, but also the words which I myself—not he—had attached.' This layering of perception—what the signal-man saw, what the narrator inferred, what the engine-driver shouted—creates a puzzle with no single solution. The collection repeatedly tests the reliability of testimony, suggesting that mystery inheres not in events alone but in the act of reporting them.

Readers approaching this anthology should attend to the margins of each story: the descriptions of weather, the placement of furniture, the exact wording of a warning. Johnson's editorial hand has gathered tales that reward slow, attentive reading, where the mystery is often less about what happened than about how it is told. The volume offers a compact survey of nineteenth-century narrative craft in the service of suspense.

I kept thinking about that old collection—how Dickens and Hawthorne could make a single shadow feel like a whole confession. It reminded me of how The Boy Patriot lingers, not with ghosts but with quiet choices. Some stories stay because they ask something soft of you. That one does. The Boy Patriot — A Closer Reading felt like a hand on my shoulder, unhurried.

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