`the ideal reading…for the hours after midnight' Thus Henry James described the style of supernatural tale of which Sheridan Le Fanu was a master. Known in nineteenth-century Dublin as `The Invisible Prince' because of his reclusive and nocturnal habits, Le Fanu was fascinated by the occult. His writings draw on the Gothic tradition, elements of Irish folklore, and even on the social and political anxieties of his Anglo-Irish contemporaries. In exploring sometimes inexplicable terrors, the tales focus on the unease of the haunted men and women who encounter the supernatural, rather than on the origin or purpose of the visitant. This makes for spine-chilling reading. The five stories presented here have been collected by Dr Hesselius, a `metaphysical' doctor, the forerunner of the modern psychiatrist, who is willing to consider the ghosts both as real and as hallucinatory obsessions. The reader's doubtful anxiety mimics that of the protagonist, and each story thus creates that… (tovább)
In a Glass Darkly 1 csillagozás
`the ideal reading…for the hours after midnight' Thus Henry James described the style of supernatural tale of which Sheridan Le Fanu was a master. Known in nineteenth-century Dublin as `The Invisible Prince' because of his reclusive and nocturnal habits, Le Fanu was fascinated by the occult. His writings draw on the Gothic tradition, elements of Irish folklore, and even on the social and political anxieties of his Anglo-Irish contemporaries. In exploring sometimes inexplicable terrors, the tales focus on the unease of the haunted men and women who encounter the supernatural, rather than on the origin or purpose of the visitant. This makes for spine-chilling reading. The five stories presented here have been collected by Dr Hesselius, a `metaphysical' doctor, the forerunner of the modern psychiatrist, who is willing to consider the ghosts both as real and as hallucinatory obsessions. The reader's doubtful anxiety mimics that of the protagonist, and each story thus creates that atmosphere of mystery which is the supernatural experience.
Eredeti megjelenés éve: 1872
Megmondtam, hogy ha én még egyszer belekezdek egy négyszáz oldalon felüli klasszikus gótikus műbe, akkor lőjetek le!
Erre föl mit csináltok?! Nem lőtök! Így számítson rátok az ember…
Na jó, azért nem volt ez olyan rossz. :) Csak poros. :) De nagyságrendekkel jobb, mint az Uncle Silas. Mondjuk, annál nem nehéz. :P
A kötetcím Szent Pál apostoltól való (1Kor 13,12), és magyarul Károli fordításában úgy terjedt el, hogy „tükör által, homályosan”. A teljes mondat ugyanebben a fordításban úgy hangzik, hogy „Mert most tükör által homályosan látunk, akkor pedig [ti. a halál után] színről színre; most rész szerint van bennem az ismeret, akkor pedig úgy ismerek majd, amint én is megismertettem.”
A kerettörténet főszereplője dr. Hesselius, aki nem a testet és nem is a lelket gyógyítja, hanem mindkettőt, pontosabban: olyan betegségeket, amelyekben a kettő összekapcsolódik. A korabeli természettudományt elválaszthatatlanul összeköti a spirituális irányzatokkal, sőt az okkultizmussal. (Ellentétben az Uncle Silasszal, ez a könyv nem azért idézi Swedenborgot, hogy rögtön el is feledkezzen róla.) Az öt történet, amelyet leír, elvileg öt esettanulmány. Dr. Hesselius kezdettől fogva hangoztatja, hogy olyan történeteket fog elmesélni, amelyek főszereplői már életükben megnyílni látták a határt evilág és túlvilág között, vagyis többet láttak, mint amennyit embernek látnia lehet és szabad, és ez volt a betegségük oka, a gyógyuláshoz pedig a határok bezárása szükségeltetett spoiler.
Továbbiak a blogon:
Carmilla sat looking listlessly on, while one after the other the old pictures, nearly all portraits, which had undergone the process of renovation, were brought to light. My mother was of an old Hungarian family, and most of these pictures, which were about to be restored to their places, had come to us through her.
136. oldal, III. kötet, Carmilla, Chapter V.
I believe the entire natural world is but the ultimate expression of that spiritual world from which, and in which alone, it has its life. I believe that the essential man is a spirit, that the spirit is an organised substance, but as different in point of material from what we ordinarily understand by matter, as light or electricity is; that the material body is, in the most literal sense, a vesture, and death consequently no interruption of the living man's existence, but simply his extrication from the natural body—a process which commences at the moment of what we term death, and the completion of which, at furthest a few days later, is the resurrection „in power.”
19. oldal, I. kötet, Green Tea, Chapter I.
By various abuses, among which the habitual use of such agents as green tea is one, this fluid may be affected as to its quality, but it is more frequently disturbed as to equilibrium. This fluid being that which we have in common with spirits, a congestion found upon the masses of brain or nerve, connected with the interior sense, forms a surface unduly exposed, on which disembodied spirits may operate: communication is thus more or less effectually established. Between this brain circulation and the heart circulation there is an intimate sympathy. The seat, or rather the instrument of exterior vision, is the eye. The seat of interior vision is the nervous tissue and brain, immediately about and above the eyebrow.
105. oldal, I. kötet, Green Tea, Conclusion
It was the figure of a hunchback, with the sharp lean features that generally accompany deformity. He wore a pointed black beard, and he was smiling from ear to ear, showing his white fangs. He was dressed in buff, black, and scarlet, and crossed with more straps and belts than I could count, from which hung all manner of things. Behind, he carried a magic-lantern, and two boxes, which I well knew, in one of which was a salamander, and in the other a mandrake. These monsters used to make my father laugh. They were compounded of parts of monkeys, parrots, squirrels, fish, and hedge-hogs, dried and stitched together with great neatness and startling effect. He had a fiddle, a box of conjuring apparatus, a pair of foils and masks attached to his belt, several other mysterious cases dangling about him, and a black staff with copper ferrules in his hand. His companion was a rough spare dog, that followed at his heels, but stopped short, suspiciously at the drawbridge, and in a little while began to howl dismally.
In the meantime, the mountebank, standing in the midst of the court-yard, raised his grotesque hat, and made us a very ceremonious bow, paying his compliments very volubly in execrable French, and German not much better. Then, disengaging his fiddle, he began to scrape a lively air, to which he sang with a merry discord, dancing with ludicrous airs and activity, that made me laugh, in spite of the dog's howling.
Then he advanced to the window with many smiles and salutations, and his hat in his left hand, his fiddle under his arm, and with a fluency that never took breath, he gabbled a long advertisement of all his accomplishments, and the resources of the various arts which he placed at our service, and the curiosities and entertainments which it was in his power, at our bidding, to display.
124-126. oldal, III. kötet, Carmilla, Chapter IV.
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