Complete Works of Sheridan Le Fanu (Illustrated), page 872
‘So slumber in the human heart
Wild echoes, that will sweetly thrill
The words of kindness when the voice
That uttered them for aye is still.
‘Oh! memory, though thy records tell
Full many a tale of grief and sorrow,
Of mad excess, of hope decayed,
Of dark and cheerless melancholy;
‘Still, memory, to me thou art
The dearest of the gifts of mind,
For all the joys that touch my heart
Are joys that I have left behind.
Le Fanu’s literary life may be divided into three distinct periods. During the first of these, and till his thirtieth year, he was an Irish ballad, song, and story writer, his first published story being the ‘Adventures of Sir Robert Ardagh,’ which appeared in the ‘Dublin University Magazine’ of 1838.
In 1844 he was united to Miss Susan Bennett, the beautiful daughter of the late George Bennett, Q.C. From this time until her decease, in 1858, he devoted his energies almost entirely to press work, making, however, his first essays in novel writing during that period. The ‘Cock and Anchor,’ a chronicle of old Dublin city, his first and, in the opinion of competent critics, one of the best of his novels, seeing the light about the year 1850. This work, it is to be feared, is out of print, though there is now a cheap edition of ‘Torlogh O’Brien,’ its immediate successor. The comparative want of success of these novels seems to have deterred Le Fanu from using his pen, except as a press writer, until 1863, when the ‘House by the Churchyard’ was published, and was soon followed by ‘Uncle Silas’ and his five other well-known novels.
We have considered Le Fanu as a ballad writer and poet. As a press writer he is still most honourably remembered for his learning and brilliancy, and the power and point of his sarcasm, which long made the ‘Dublin Evening Mail’ one of the most formidable of Irish press critics; but let us now pass to the consideration of him in the capacity of a novelist, and in particular as the author of ‘Uncle Silas.’
There are evidences in ‘Shamus O’Brien,’ and even in ‘Phaudrig Croohore,’ of a power over the mysterious, the grotesque, and the horrible, which so singularly distinguish him as a writer of prose fiction.
‘Uncle Silas,’ the fairest as well as most familiar instance of this enthralling spell over his readers, is too well known a story to tell in detail. But how intensely and painfully distinct is the opening description of the silent, inflexible Austin Ruthyn of Knowl, and his shy, sweet daughter Maude, the one so resolutely confident in his brother’s honour, the other so romantically and yet anxiously interested in her uncle — the sudden arrival of Dr. Bryerly, the strange Swedenborgian, followed by the equally unexpected apparition of Madame de la Rougiere, Austin Ruthyn’s painful death, and the reading of his strange will consigning poor Maude to the protection of her unknown Uncle Silas — her cousin, good, bright devoted Monica Knollys, and her dreadful distrust of Silas — Bartram Haugh and its uncanny occupants, and foremost amongst them Uncle Silas.
This is his portrait:
‘A face like marble, with a fearful monumental look, and for an old man, singularly vivid, strange eyes, the singularity of which rather grew upon me as I looked; for his eyebrows were still black, though his hair descended from his temples in long locks of the purest silver and fine as silk, nearly to his shoulders.
‘He rose, tall and slight, a little stooped, all in black, with an ample black velvet tunic, which was rather a gown than a coat....
‘I know I can’t convey in words an idea of this apparition, drawn, as it seemed, in black and white, venerable, bloodless, fiery-eyed, with its singular look of power, and an expression so bewildering — was it derision, or anguish, or cruelty, or patience?
‘The wild eyes of this strange old man were fixed on me as he rose; an habitual contraction, which in certain lights took the character of a scowl, did not relax as he advanced towards me with a thin-lipped smile.’
Old Dicken and his daughter Beauty, old L’Amour and Dudley Ruthyn, now enter upon the scene, each a fresh shadow to deepen its already sombre hue, while the gloom gathers in spite of the glimpse of sunshine shot through it by the visit to Elverston. Dudley’s brutal encounter with Captain Oakley, and vile persecution of poor Maude till his love marriage comes to light, lead us on to the ghastly catastrophe, the hideous conspiracy of Silas and his son against the life of the innocent girl.
It is interesting to know that the germ of Uncle Silas first appeared in the ‘Dublin University Magazine’ of 1837 or 1838, as the short tale, entitled, ‘A Passage from the Secret History of an Irish Countess,’ which is printed in this collection of Stories. It next was published as ‘The Murdered Cousin’ in a collection of Christmas stories, and finally developed into the three-volume novel we have just noticed.
There are about Le Fanu’s narratives touches of nature which reconcile us to their always remarkable and often supernatural incidents. His characters are well conceived and distinctly drawn, and strong soliloquy and easy dialogue spring unaffectedly from their lips. He is a close observer of Nature, and reproduces her wilder effects of storm and gloom with singular vividness; while he is equally at home in his descriptions of still life, some of which remind us of the faithfully minute detail of old Dutch pictures.
Mr. Wilkie Collins, amongst our living novelists, best compares with Le Fanu. Both of these writers are remarkable for the ingenious mystery with which they develop their plots, and for the absorbing, if often over-sensational, nature of their incidents; but whilst Mr. Collins excites and fascinates our attention by an intense power of realism which carries us with unreasoning haste from cover to cover of his works, Le Fanu is an idealist, full of high imagination, and an artist who devotes deep attention to the most delicate detail in his portraiture of men and women, and his descriptions of the outdoor and indoor worlds — a writer, therefore, through whose pages it would be often an indignity to hasten. And this more leisurely, and certainly more classical, conduct of his stories makes us remember them more fully and faithfully than those of the author of the ‘Woman in White.’ Mr. Collins is generally dramatic, and sometimes stagy, in his effects. Le Fanu, while less careful to arrange his plots, so as to admit of their being readily adapted for the stage, often surprises us by scenes of so much greater tragic intensity that we cannot but lament that he did not, as Mr. Collins has done, attempt the drama, and so furnish another ground of comparison with his fellow-countryman, Maturin (also, if we mistake not, of French origin), whom, in his writings, Le Fanu far more closely resembles than Mr. Collins, as a master of the darker and stronger emotions of human character. But, to institute a broader ground of comparison between Le Fanu and Mr. Collins, whilst the idiosyncrasies of the former’s characters, however immaterial those characters may be, seem always to suggest the minutest detail of his story, the latter would appear to consider plot as the prime, character as a subsidiary element in the art of novel writing.
Those who possessed the rare privilege of Le Fanu’s friendship, and only they, can form any idea of the true character of the man; for after the death of his wife, to whom he was most deeply devoted, he quite forsook general society, in which his fine features, distinguished bearing, and charm of conversation marked him out as the beau-ideal of an Irish wit and scholar of the old school.
From this society he vanished so entirely that Dublin, always ready with a nickname, dubbed him ‘The Invisible Prince;’ and indeed he was for long almost invisible, except to his family and most familiar friends, unless at odd hours of the evening, when he might occasionally be seen stealing, like the ghost of his former self, between his newspaper office and his home in Merrion Square; sometimes, too, he was to be encountered in an old out-of-the-way bookshop poring over some rare black letter Astrology or Demonology.
To one of these old bookshops he was at one time a pretty frequent visitor, and the bookseller relates how he used to come in and ask with his peculiarly pleasant voice and smile, ‘Any more ghost stories for me, Mr. —— ?’ and how, on a fresh one being handed to him, he would seldom leave the shop until he had looked it through. This taste for the supernatural seems to have grown upon him after his wife’s death, and influenced him so deeply that, had he not been possessed of a deal of shrewd common sense, there might have been danger of his embracing some of the visionary doctrines in which he was so learned. But no! even Spiritualism, to which not a few of his brother novelists succumbed, whilst affording congenial material for our artist of the superhuman to work upon, did not escape his severest satire.
Shortly after completing his last novel, strange to say, bearing the title ‘Willing to Die,’ Le Fanu breathed his last at his home No. 18, Merrion Square South, at the age of fifty-nine.
‘He was a man,’ writes the author of a brief memoir of him in the ‘Dublin University Magazine,’ ‘who thought deeply, especially on religious subjects. To those who knew him he was very dear; they admired him for his learning, his sparkling wit, and pleasant conversation, and loved him for his manly virtues, for his noble and generous qualities, his gentleness, and his loving, affectionate nature.’ And all who knew the man must feel how deeply deserved are these simple words of sincere regard for Joseph Sheridan Le Fanu.
Le Fanu’s novels are accessible to all; but his Purcell Papers are now for the first time collected and published, by the permission of his eldest son (the late Mr. Philip Le Fanu), and very much owing to the friendly and active assistance of his brother, Mr. William Le Fanu.
Mount Jerome Cemetery, Dublin – Le Fanu’s final resting place
Le Fanu’s grave
Joseph Sheridan Le Fanu, Complete Works of Sheridan Le Fanu (Illustrated)
