'The Legend of Sleepy Hollow' by Washington Irving

  

FOUND AMONG THE PAPERS OF THE LATE DIEDRICH KNICKERBOCKER

   

A pleasing land of drowsy head it was,

  Of dreams that wave before the half-shut eye;

And of gay castles in the clouds that pass,

  For ever flushing round a summer sky.

                                                                 CASTLE OF INDOLENCE.
  

  IN the bosom of one of those spacious coves which indent the eastern shore of the Hudson, at that broad expansion of the river denominated by the ancient Dutch navigators the Tappan Zee, and where they always prudently shortened sail, and implored the protection of St. Nicholas when they crossed, there lies a small market-town or rural port, which by some is called Greensburgh, but which is more generally and properly known by the name of Tarry Town. This name was given, we are told, in former days, by the good housewives of the adjacent country, from the inveterate propensity of their husbands to linger about the village tavern on market days. Be that as it may, I do not vouch for the fact, but merely advert to it, for the sake of being precise and authentic. Not far from this village, perhaps about two miles, there is a little valley, or rather lap of land, among high hills, which is one of the quietest places in the whole world. A small brook glides through it, with just murmur enough to lull one to repose; and the occasional whistle of a quail, or tapping of a woodpecker, is almost the only sound that ever breaks in upon the uniform tranquillity.

'Schalken the Painter' by J. Sheridan Le Fanu

     "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 Phantom Coach: A Ghost Story for Christmas

I love this video, so much time and care put into showcasing a wonderful story, in a really novel way. Brilliant adaptation of the Amelia B. Edwards story by Richard Mansfield

'Carnacki the Ghost Finder: The Thing Invisible' by William Hope Hodgson

Carnacki had just returned to Cheyne Walk, Chelsea. I was aware of this interesting fact by reason of the curt and quaintly worded postcard which I was rereading, and by which I was requested to present myself at his house not later than seven o'clock on that evening. Mr. Carnacki had, as I and the others of his strictly limited circle of friends knew, been away in Kent for the past three weeks; but beyond that, we had no knowledge. Carnacki was genially secretive and curt, and spoke only when he was ready to speak. When this stage arrived, I and his three other friends—Jessop, Arkright, and Taylor—would receive a card or a wire, asking us to call. Not one of us ever willingly missed, for after a thoroughly sensible little dinner Carnacki would snuggle down into his big armchair, light his pipe, and wait whilst we arranged ourselves comfortably in our accustomed seats and nooks. Then he would begin to talk.

Upon this particular night I was the first to arrive and found Carnacki sitting, quietly smoking over a paper. He stood up, shook me firmly by the hand, pointed to a chair, and sat down again, never having uttered a word.

For my part, I said nothing either. I knew the man too well to bother him with questions or the weather, and so took a seat and a cigarette. Presently the three others turned up and after that we spent a comfortable and busy hour at dinner.

'Carnacki the Ghost Finder: The Searcher of the End House' by William Hope Hodgson

It was still evening, as I remember, and the four of us, Jessop, Arkright, Taylor and I, looked disappointedly at Carnacki, where he sat silent in his great chair.

We had come in response to the usual card of invitation, which—as you know—we have come to consider as a sure prelude to a good story; and now, after telling us the short incident of the Three Straw Platters, he had lapsed into a contented silence, and the night not half gone, as I have hinted.

However, as it chanced, some pitying fate jogged Carnacki's elbow, or his memory, and he began again, in his queer level way:—

"The 'Straw Platters' business reminds me of the 'Searcher' Case, which I have sometimes thought might interest you. It was some time ago, in fact a deuce of a long time ago, that the thing happened; and my experience of what I might term 'curious' things was very small at that time.