Ghost story

thumb|upright=1.4|Illustration by James McBryde for [[M. R. James's story "Oh, Whistle, and I'll Come to You, My Lad" (1904).]]

A ghost story is any piece of fiction, or drama, that includes a ghost, or simply takes as a premise the possibility of ghosts or characters' belief in them. The "ghost" may appear of its own accord or be summoned by magic. Linked to the ghost is the idea of a "haunting", where a supernatural entity is tied to a place, object or person. Belief in ghosts is found in all cultures around the world, and thus ghost stories may be passed down orally or in written form. Some of the stories are decades old, with varying versions across multiple cultures. Many schools and educational institutions encourage ghost storytelling as part of literature.

In 1929, five key features of the English ghost story were identified in "Some Remarks on Ghost Stories" by M. R. James. As summarized by Frank Coffman for a course in popular imaginative literature, they were:

The pretense of truth
"A pleasing terror"
No gratuitous bloodshed or sex
No "explanation of the machinery"
Setting: "those of the writer's (and reader's) own day"

The introduction of pulp magazines in the early 1900s created new avenues for ghost stories to be published, and they also began to appear in publications such as Good Housekeeping and The New Yorker.

Literature

right|thumb|200px|upright|[[John Dee and Edward Kelley invoking the spirit of a deceased person (engraving from the Astrology by Ebenezer Sibly, 1806)]]

Early examples

Ghosts in the classical world often appeared in the form of vapor or smoke, but at other times they were described as being substantial, appearing as they had been at the time of death, complete with the wounds that killed them. Spirits of the dead appear in literature as early as Homer's Odyssey, which features a journey to the underworld and the hero encountering the ghosts of the dead, Another early account of a haunted place comes from an account by Pliny the Younger ( 50 AD). Pliny describes the haunting of a house in Athens by a ghost bound in chains, an archetype that would become familiar in later literature.

The One Thousand and One Nights, sometimes known as Arabian Nights, contains a number of ghost stories, often involving jinn (also spelled as djinn), ghouls and corpses. In particular, the tale of "Ali the Cairene and the Haunted House in Baghdad" revolves around a house haunted by jinns. Other medieval Arabic literature, such as the Encyclopedia of the Brethren of Purity, also contain ghost stories.

The 11th century Japanese work The Tale of Genji contains ghost stories, and includes characters being possessed by spirits.

English Renaissance theatre

thumb|left|"[[Hamlet and his father's ghost" by Henry Fuseli (1780s drawing). The ghost is wearing stylised plate armour in 17th-century style, including a morion type helmet and tassets. Depicting ghosts as wearing armour, to suggest a sense of antiquity, was common in Elizabethan theatre.]]

In the mid-16th century, the works of Seneca were rediscovered by Italian humanists, and they became the models for the revival of tragedy. Seneca's influence is particularly evident in Thomas Kyd's The Spanish Tragedy and Shakespeare's Hamlet, both of which share a revenge theme, a corpse-strewn climax, and ghosts among the cast. The ghosts in Richard III also resemble the Senecan model, while the ghost in Hamlet plays a more complex role.

In English Renaissance theatre, ghosts were often depicted in the garb of the living and even in armour. Armour, being out-of-date by the time of the Renaissance, gave the stage ghost a sense of antiquity.

In Spain, the legend of Catalina Lercaro stands out, a young woman from the 16th century, who committed suicide so as not to have to marry a man she did not love. From here, many people claim to see her ghost.

Border ballads

Ghosts figured prominently in traditional British ballads of the 16th and 17th centuries, particularly the “Border Ballads” of the turbulent border country between England and Scotland. Ballads of this type include "The Unquiet Grave", "The Wife of Usher's Well", and "Sweet William's Ghost", which feature the recurring theme of returning dead lovers or children. In the ballad "King Henry", a particularly ravenous ghost devours the king's horse and hounds before forcing the king into bed. The king then awakens to find the ghost transformed into a beautiful woman. The Flying Dutchman was a ghost ship that became the subject of many ghost stories.

Romantic era

thumb|left|Depiction of a woman telling a ghost story.

One of the key early appearances by ghosts was The Castle of Otranto by Horace Walpole in 1764, considered to be the first gothic novel.

However, although the ghost story shares the use of the supernatural with the Gothic novel, the two forms differ. Ghost stories, unlike Gothic fiction, usually take place in a time and location near to the audience of the story.

The modern short story emerged in Germany in the early decades of the 19th century. Kleist's "The Beggar Woman of Locarno", published in 1810, and several other works from the period lay claim to being the first ghost short stories of a modern type. E. T. A. Hoffmann's ghost stories include "The Elementary Spirit" and "The Mines of Falun".

The Russian equivalent of the ghost story is the bylichka. Notable examples of the genre from the 1830s include Gogol's "Viy" and Pushkin's "The Queen of Spades", although there were scores of other stories from lesser known writers, produced primarily as Christmas fiction. The Vosges mountain range is the setting for most ghost stories by the French writing team of Erckmann-Chatrian.

One of the earliest writers of ghost stories in English was Sir Walter Scott. His ghost stories, "Wandering Willie's Tale" (1824, first published as part of Redgauntlet) and The Tapestried Chamber (1828) eschewed the "Gothic" style of writing and helped set an example for later writers in the genre.

"Golden Age of the Ghost Story"

Historian of the ghost story Jack Sullivan has noted that many literary critics argue a "Golden Age of the Ghost Story" existed between the decline of the Gothic novel in the 1830s and the start of the First World War. Sullivan argues that the work of Edgar Allan Poe and Sheridan Le Fanu inaugurated this "Golden Age". Charlotte Riddell, who wrote fiction as Mrs. J. H. Riddell, created ghost stories which were noted for adept use of the haunted house theme.

right|thumb|upright|19th-century [[etching by John Leech of the Ghost of Christmas Present as depicted in Charles Dickens' A Christmas Carol]]

The "classic" ghost story arose during the Victorian period, and included authors such as M. R. James, Sheridan Le Fanu, Violet Hunt, and Henry James. Classic ghost stories were influenced by the gothic fiction tradition, and contain elements of folklore and psychology. M. R. James summed up the essential elements of a ghost story as, "Malevolence and terror, the glare of evil faces, 'the stony grin of unearthly malice', pursuing forms in darkness, and 'long-drawn, distant screams', are all in place, and so is a modicum of blood, shed with deliberation and carefully husbanded ...".

Famous literary apparitions from the Victorian period are the ghosts of A Christmas Carol, in which Ebenezer Scrooge is helped to see the error of his ways by the ghost of his former colleague Jacob Marley, and the ghosts of Christmas Past, Christmas Present and Christmas Yet to Come. In a precursor to A Christmas Carol Dickens published "The Story of the Goblins Who Stole a Sexton". Dickens also wrote "The Signal-Man", another work featuring a ghost.

Jamesian style

David Langford has described British author M. R. James as writing "the 20th century's most influential canon of ghost stories". James perfected a method of story-telling which has since become known as Jamesian, which involved abandoning many of the traditional Gothic elements of his predecessors. The classic Jamesian tale usually includes the following elements:

a characterful setting in an English village, seaside town or country estate; an ancient town in France, Denmark or Sweden; or a venerable abbey or university
a nondescript and rather naïve gentleman-scholar as protagonist (often of a reserved nature)
the discovery of an old book or other antiquarian object that somehow unlocks, calls down the wrath, or at least attracts the unwelcome attention of a supernatural menace, usually from beyond the grave

According to James, the story must "put the reader into the position of saying to himself, 'If I'm not very careful, something of this kind may happen to me!" He also perfected the technique of narrating supernatural events through implication and suggestion, letting his reader fill in the blanks, and focusing on the mundane details of his settings and characters in order to throw the horrific and bizarre elements into greater relief. He summed up his approach in his foreword to the anthology Ghosts and Marvels (Oxford, 1924): "Two ingredients most valuable in the concocting of a ghost story are, to me, the atmosphere and the nicely managed crescendo. ... Let us, then, be introduced to the actors in a placid way; let us see them going about their ordinary business, undisturbed by forebodings, pleased with their surroundings; and into this calm environment let the ominous thing put out its head, unobtrusively at first, and then more insistently, until it holds the stage."

Another aspect James considered a requisite was "that the ghost should be malevolent or odious: amiable and helpful apparitions are all very well in fairy tales or in local legends, but I have no use for them in a fictitious ghost story."

19th-century American writers

Influenced by British and German examples, American writers began to produce their own ghost stories. Washington Irving's short story "The Legend of Sleepy Hollow" (1820), based on an earlier German folktale, features a Headless Horseman. It has been adapted for film and television many times, such as Sleepy Hollow, a successful 1999 feature film. Irving also wrote "The Adventure of the German Student" and F. Marion Crawford all wrote ghost fiction. Henry James also wrote ghost stories, including "The Jolly Corner" and The Turn of the Screw.

Oscar Wilde's comic short story "The Canterville Ghost" (1887) has been adapted for film and television on several occasions.

In the United States, prior to and during the First World War, folklorists Olive Dame Campbell and Cecil Sharp collected ballads from the people of the Appalachian Mountains, which included ghostly themes such as "The Cruel Ship's Carpenter", "The Suffolk Miracle", "The Unquiet Grave" and "The Wife of Usher's Well". The theme of these ballads was often the return of a dead lover. These songs were variants of traditional British ballads handed down by generations of mountaineers descended from the people of the Anglo-Scottish border region.

Psychological horror

In the Edwardian era, Algernon Blackwood (who combined the ghost story with nature mysticism), Kaidan entered the vernacular when a game called Hyakumonogatari Kaidankai became popular in the Edo period. The popularity of the game, as well as the acquisition of a printing press, led to the creation of a literary genre called Kaidanshu. Kaidan are not always horror stories, they can "be funny, or strange, or just telling about an odd thing that happened one time".

Lafcadio Hearn published Kwaidan: Stories and Studies of Strange Things in 1904 as a collection of Japanese ghost stories which was also adapted into a film. The book "is seen as the first introduction of Japanese superstition to European and American audiences". Shirley Jackson made an important contribution to ghost fiction with her novel The Haunting of Hill House (1959).

A noted modern British writer of ghost fiction is Ramsey Campbell. Susan Hill also produced The Woman in Black (1983), a ghost novel that has been adapted for stage, television and film.

In 1926, the novel Topper by Thorne Smith was published, which created the modern American ghost. When the novel was adapted into the 1937 movie Topper, it initiated a new film genre and would also influence television. After the second World War, sentimental depictions of ghosts had become more popular in cinema than horror, and include the 1947 film The Ghost and Mrs. Muir, which was later adapted to television with a successful 1968–70 TV series. 1963 saw one of the first major adaptations of a ghost novel, The Haunting, based on the well known novel The Haunting of Hill House. In the horror genre, 1980's The Fog, and the A Nightmare on Elm Street series of films from the 1980s and 1990s are notable examples of the trend for the merging of ghost stories with scenes of physical violence. Indian ghost movies are popular not just in India, but in the Middle East, Africa, South East Asia and other parts of the world. Some Indian ghost movies such as the comedy / horror film Manichitrathazhu have been commercial successes, dubbed into several languages. Generally the films are based on the experiences of modern people who are unexpectedly exposed to ghosts, and usually draw on traditional Indian literature or folklore. In some cases the Indian films are remakes of western films, such as Anjaane, based on Alejandro Amenábar's ghost story The Others.

Television

In fictional television programming, ghosts have been explored in series such as The Television Ghost, Ghost Whisperer, Medium, Supernatural, the television series adaptation of The Ghost and Mrs. Muir and Randall and Hopkirk (Deceased). In animated fictional television programming, ghosts have served as the central element in series such as Casper the Friendly Ghost, Danny Phantom, and Scooby-Doo, as well as minor roles in various other television shows.

Popularized in part by the 1984 comedy franchise Ghostbusters, ghost hunting has been popularized as a hobby wherein reportedly haunted places are explored. The ghost hunting theme has been featured in paranormal reality television series, such as A Haunting, Ghost Adventures, Ghost Hunters, Ghost Hunters International, Ghost Lab, and Most Haunted. It is also represented in children's television by such programs as The Ghost Hunter based on the book series of the same name and Ghost Trackers.

The Indian television series Aahat featured ghost and supernatural stories written by B. P. Singh. It was first aired on 5 October 1995 and ran for more than a decade, ending on 25 November 2010 with more than 450 episodes.

References

External links

- 1919

PDF of original 1919 The Best Ghost Stories
Ghost Story Society

ja:怪談