WEBVTT

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<v Speaker 1>Everybody dies, don't they? Isn't that so you've tried to

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<v Speaker 1>get into the long draw today, didn't you? You can?

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<v Speaker 1>How do the they'd come back? They didn't You lost hearts?

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<v Speaker 1>By m R James. It was, as far as I

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<v Speaker 1>can ascertain, in September of the year eighteen eleven, that

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<v Speaker 1>a post chairs drew up before the door of Aswellby Hall,

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<v Speaker 1>in the heart of Lincolnshire. The little boy, who was

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<v Speaker 1>the only passenger in the chaise, and who jumped out

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<v Speaker 1>as soon as it had stopped, looked about him with

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<v Speaker 1>the keenest curiosity. During the short interval that elapsed between

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<v Speaker 1>the ringing of the bell and the opening of the

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<v Speaker 1>hall door, he saw a tall, square, red brick house

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<v Speaker 1>built in the rain of ann. A stone pillared porch

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<v Speaker 1>had been added in the purer classical style of seventeen ninety.

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<v Speaker 1>The window of the house were many, tall and narrow,

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<v Speaker 1>with small panes and thick white woodwork. A pediment pierced

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<v Speaker 1>with a round window, crowned the front. There were wings

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<v Speaker 1>to right and left, connected by curious glazed galleries supported

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<v Speaker 1>by colonnades with the central block. These wings plainly contained

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<v Speaker 1>the stables and offices of the house. Each was surmounted

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<v Speaker 1>by an ornamental cupola with a gilded vane. An evening

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<v Speaker 1>light shone on the building, making the window panes glow

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<v Speaker 1>like so many fires. Away from the hall in front

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<v Speaker 1>stretched a flat park studded with oaks and fringed with firs,

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<v Speaker 1>which stood out against the sky. The clock in the

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<v Speaker 1>church tower buried in trees on the edge of the park,

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<v Speaker 1>only its golden weather cock catching. The lights were striking six,

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<v Speaker 1>and the sound came gently beating down the wind. It

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<v Speaker 1>was altogether a pleasant impression, though tinged with a sort

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<v Speaker 1>of melancholy appropriate to an evening in early autumn, that

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<v Speaker 1>was conveyed to the mind of a boy who was

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<v Speaker 1>standing in the porch waiting for the door to open

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<v Speaker 1>to him. The post shares had brought him from Warwickshire,

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<v Speaker 1>where some six months before he had been left an orphan. Now,

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<v Speaker 1>owing to the generous offer of his elderly cousin, mister Abney,

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<v Speaker 1>he'd come to live at Aswerby. The offer was unexpected,

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<v Speaker 1>because all who knew anything of mister Abney looked upon

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<v Speaker 1>him as a somewhat austere recluse into whose steady going household.

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<v Speaker 1>The advent of a small boy would import a new

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<v Speaker 1>and it seemed incongruous element. The truth is that very

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<v Speaker 1>little was known of mister Abney's pursuits or temper. The

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<v Speaker 1>professor of Greek at Cambridge had been hurt to say

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<v Speaker 1>that no one knew more of the religious beliefs of

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<v Speaker 1>the later Pagans than did the owner of Aswerby. Certainly,

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<v Speaker 1>his library contained all the then available books bearing on

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<v Speaker 1>the mysteries, the Orphic poems, the worship of Mithras, and

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<v Speaker 1>the Neoplatonists. In the marble paved hall stood a fine

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<v Speaker 1>group of Mithras slaying bull, which imported from the Levant's

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<v Speaker 1>a great expense by the owner. He had contributed a

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<v Speaker 1>description of it to the Gentleman's Magazine, and he had

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<v Speaker 1>written a remarkable series of articles in the Critical Museum

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<v Speaker 1>on the superstitions of the Romans of the Lower Empire.

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<v Speaker 1>He was looked upon in Fine as a man wrapped

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<v Speaker 1>up in his books, and it was a matter of

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<v Speaker 1>great surprise among his neighbors that he should have even

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<v Speaker 1>heard of his awtroan cousin, Stephen Elliott, much more that

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<v Speaker 1>he should have volunteered to make him an inmate of

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<v Speaker 1>aswellbe hall. Whatever may have been expected by his neighbors.

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<v Speaker 1>It is certain that mister Abney, the tall, the thin,

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<v Speaker 1>the austere, seemed inclined to give his young cousin a

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<v Speaker 1>kindly reception. The moment the front door was opened, he

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<v Speaker 1>darted out of his study, rubbing his hands with delight.

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<v Speaker 1>How are you, my boy? How are you? How old

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<v Speaker 1>are you? Said he? That is, you are not too

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<v Speaker 1>much tired? I hope by your journey to eat your supper. No,

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<v Speaker 1>thank you, sir, said Master Elliott. I'm pretty well. That's

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<v Speaker 1>a good lad, said mister Abney. And how old are you,

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<v Speaker 1>my boy? It seemed a little odd that he should

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<v Speaker 1>have asked the question twice in the first two minutes

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<v Speaker 1>of their acquaintance. I'm twelve years old, next birthday, sir,

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<v Speaker 1>said Stephen. And when is your birthday, my dear boy,

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<v Speaker 1>eleventh of September. That's well, that's very well, nearly a year, hence,

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<v Speaker 1>isn't it? I like, ha ha, I like to get

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<v Speaker 1>these things down in my book. Sure it's twelve, certain, yes,

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<v Speaker 1>quite sure, sir. Well, Well take him to missus Bunch's room,

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<v Speaker 1>Parks and let him have his tea supper, whatever it is, Yes, Sir,

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<v Speaker 1>answered the stage mister Parks, and conducted Stephen to the

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<v Speaker 1>lower regions. Missus Bunch was the most comfortable and human

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<v Speaker 1>person whom Stephen had yet as met in as would be,

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<v Speaker 1>she made him completely at home. They were great friends

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<v Speaker 1>in a quarter of an hour, and great friends they remained.

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<v Speaker 1>Missus Bunch had been born in the neighborhood some fifty

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<v Speaker 1>five years before the date of Stephen's arrival, and her

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<v Speaker 1>residence at the Hall was of twenty years stand. Consequently,

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<v Speaker 1>if any one knew the ins and outs of the

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<v Speaker 1>house in the district, Missus Bunch knew them, and she

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<v Speaker 1>was by no means disinclined to communicate her information. Certainly,

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<v Speaker 1>there were plenty of things about the Hall and the

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<v Speaker 1>hall gardens which Stephen, who was of an adventurous and

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<v Speaker 1>inquiring turn, was anxious to have explained. Him. Who built

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<v Speaker 1>a temple at the end of the Laurel walk. Who

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<v Speaker 1>was the old man whose picture hung on the staircase,

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<v Speaker 1>sitting at the table with a skull under his hand?

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<v Speaker 1>These and many similar points were cleared up by the

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<v Speaker 1>resources of Missus Bunch's powerful intellect. There were others, however,

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<v Speaker 1>of which explanations furnished were less satisfactory. One November evening,

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<v Speaker 1>Stephen was sitting by the fire in the housekeeper's room,

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<v Speaker 1>reflecting on his surroundings. Is mister Abney a good man?

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<v Speaker 1>And will he go to heaven? He suddenly asked, with

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<v Speaker 1>the peculiar confidence which children possess in the ability of

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<v Speaker 1>their elders to settle these questions, the decision of which

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<v Speaker 1>is believed to be reserved for other tribunals. Good bless

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<v Speaker 1>the child, said missus Bunch. Master's as kind a soul

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<v Speaker 1>as I ever did see, didn't I never tell you

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<v Speaker 1>of the little boy as he took in out of

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<v Speaker 1>the street, as you may say this seven years back,

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<v Speaker 1>and the little girl two years after I first came here. No,

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<v Speaker 1>do tell me about them, missus Bunch, now this minute,

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<v Speaker 1>well said missus Bunch. The little girl I don't seem

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<v Speaker 1>to recollect so much about I know. Master brought her

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<v Speaker 1>back with him from his walk one day and give

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<v Speaker 1>orders to missus Ellis, who was housekeeper then, as she

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<v Speaker 1>should be, took every care with And the poor child

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<v Speaker 1>hadn't no one belonging to her. She told me so

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<v Speaker 1>her own self, and here she lived with us a

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<v Speaker 1>matter of three weeks, he might be, and then whether

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<v Speaker 1>there was something of a gipsy in her blood or

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<v Speaker 1>what not. But one morning she shot out of her

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<v Speaker 1>bed before any of us had opened an eye, and

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<v Speaker 1>neither track nor yet trace of her. Have I said

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<v Speaker 1>ties on, since Master was wonderful put about and had

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<v Speaker 1>all the ponds dragged. But it's my belief she was

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<v Speaker 1>had away by them gypsies, for they were singing round

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<v Speaker 1>the house for as much as an hour the night

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<v Speaker 1>she went, And parks, he declared, as he heard them

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<v Speaker 1>are calling in her woods all that afternoon, dear, dear,

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<v Speaker 1>a hot child. She was so silent in the ways

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<v Speaker 1>and all, but Ah, I was wonderful taking up with her,

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<v Speaker 1>so domesticated she was surprising. And what about the little boy,

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<v Speaker 1>said Stephen, Ah, that poor boy sighed missus bunch. He

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<v Speaker 1>were a foreigner, Giovanni called herself. And he come a

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<v Speaker 1>tweak in his irdy gurdy round about the drive one

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<v Speaker 1>winter day, and Master had him in that minute. And

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<v Speaker 1>that's all about where he come from, and how old

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<v Speaker 1>he was, and how he made his way, and where

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<v Speaker 1>was his relatives, and all as kind as heart could wish.

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<v Speaker 1>But he went the same way with him. They're an

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<v Speaker 1>unruly lot, them foreign nations, that do suppose. And he

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<v Speaker 1>was off one fine morning, just the same as the girl.

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<v Speaker 1>Why he went and what he'd done was our question

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<v Speaker 1>for as much as a year after before he never

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<v Speaker 1>took his herdy gurdy him there it lays on the shelf.

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<v Speaker 1>The remainder of the evening was spent by Stephen in

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<v Speaker 1>miscellaneous cross examination of Missus Bunch and efforts to extract

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<v Speaker 1>a tune from the hurdy Gurdy. That night he had

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<v Speaker 1>a curious dream. At the end of the passage at

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<v Speaker 1>the top of the house in which his bedroom was situated,

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<v Speaker 1>there was an old, disused bathroom. It was kept locked,

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<v Speaker 1>but the upper half of the door was glazed, and

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<v Speaker 1>since the muslin curtains which used to hang there had

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<v Speaker 1>long been gone, you could look in and see the

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<v Speaker 1>lead lined bath fixed to the wall on the right hand,

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<v Speaker 1>with its head towards the window. On the night of

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<v Speaker 1>which I'm speaking, the Stephen Elliott found himself, as he thought,

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<v Speaker 1>looking through the glazed door. The moon was shining through

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<v Speaker 1>the window, and he was gazing at a figure which

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<v Speaker 1>lay in the b His description of what he saw

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<v Speaker 1>reminds me of what I once beheld myself in the

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<v Speaker 1>famous vaults of Saint Micahan's Church in Dublin, which possessed

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<v Speaker 1>a horrid property of preserving corpses from decay for centuries.

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<v Speaker 1>A figure inexpressibly thin and pathetic, of a dusty leaden color,

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<v Speaker 1>enveloped in a shroudlike garment, the thin lips crooked into

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<v Speaker 1>a faint and dreadful smile. The hands pressed tightly over

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<v Speaker 1>the region of the heart. As he looked upon it,

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<v Speaker 1>A distant, almost inaudible moan seemed to issue from its lips,

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<v Speaker 1>and the arms began to stir. The terror of the

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<v Speaker 1>sight forced Stephen backwards, and he awoke to the fact

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<v Speaker 1>that he was indeed standing on the cold bordered floor

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<v Speaker 1>of the passage in the full light of the moon.

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<v Speaker 1>With a courage which I do not think can be

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<v Speaker 1>common among boys of his age. He went to the

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<v Speaker 1>door of the bathroom to ascertain if the figure of

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<v Speaker 1>his dream were really there. It was not, and he

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<v Speaker 1>went back to bed. Missus Bunch was much impressed next

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<v Speaker 1>morning by his story, and went so far as to

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<v Speaker 1>replace the muslin curtain over the glazed door of the bathroom.

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<v Speaker 1>Mister Abney moreover, to whom he confided his experiences at breakfast,

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<v Speaker 1>was greatly interested and made notes of the matter in

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<v Speaker 1>what he called his book. The spring equinox was approaching,

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<v Speaker 1>as mister Abney frequently reminded his cousin, adding that this

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<v Speaker 1>had been always considered by the ancients to be a

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<v Speaker 1>critical time for the young, that Stephen would do well

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<v Speaker 1>to take care of himself and to shut his bedroom

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<v Speaker 1>window at night, and that Censoriness had some valuable remarks

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<v Speaker 1>on the subjects. Two incidents that occurred about this time

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<v Speaker 1>made an impression upon Stephen's mind. The first was after

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<v Speaker 1>an unusually uneasy and depressed night that he had passed,

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<v Speaker 1>though he couldn't recall any particular dream that he'd had.

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<v Speaker 1>The following evening, missus Bunch was occupying herself in mending

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<v Speaker 1>his nightgown. Gracious me, Master Stephen, she broke forth, rather irritably,

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<v Speaker 1>how do you manage to tell your night dress all

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<v Speaker 1>to flinders this way? Look here, sir, what trouble do

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<v Speaker 1>you give to poor servants and have to darn and

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<v Speaker 1>mend after you? There was indeed a most destructive and

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<v Speaker 1>apparently wanton series of slits or scorings in the garment,

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<v Speaker 1>which would undoubtedly require a skillful needle to make good.

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<v Speaker 1>They were confined to the left side of the chest,

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<v Speaker 1>long parallel slits about six inches in length, some of

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<v Speaker 1>them not quite piercing the texture of the linen. Stephen

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<v Speaker 1>could only express his entire ignorance of their origin. He

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<v Speaker 1>was sure they were not there the night before, but

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<v Speaker 1>he said, Missus Bunch, they had just the same as

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<v Speaker 1>the scratches on the outside of my bedroom door, and

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<v Speaker 1>I'm sure I never had anything to do with making them.

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<v Speaker 1>Missus Bunch gazed at him, open mouthed, then snatched up

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<v Speaker 1>a candle hearted hastily from the room, and was heard

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<v Speaker 1>making her way upstairs. In a few minutes she came down. Well,

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<v Speaker 1>she said, Master Stephen. It's a funny thing to me

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<v Speaker 1>how their marks and scratches can have come there, too

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<v Speaker 1>high up for any cat or dog to have made

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<v Speaker 1>them much less a rat for all the world, like

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<v Speaker 1>a chinaman's fingernails. As my uncle in the tea trade

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<v Speaker 1>used to tell us of when we were girls together,

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<v Speaker 1>I wouldn't say nothing to Master, not if I was

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<v Speaker 1>you Master, Stephen, my dear, and just turn the key

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<v Speaker 1>of the door when you go to your bed. I

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<v Speaker 1>always do, Missus Bunch, as soon as I've said my prayers. Ah,

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00:12:37.360 --> 00:12:40.519
<v Speaker 1>that's a good child. Always say your prayers and then

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00:12:40.799 --> 00:12:45.320
<v Speaker 1>no one can hurt you. Herewith Missus Bunch addressed herself

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<v Speaker 1>to mending the injured night gown with intervals of meditation

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00:12:48.679 --> 00:12:52.799
<v Speaker 1>until bedtime. This it was on a Friday night in

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<v Speaker 1>March eighteen twelve. On the following evening, the usual duet

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<v Speaker 1>of Stephen and Missus Bunch was augmented by the sudden

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<v Speaker 1>arrival of mister Parks. The butler, who was a rule,

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<v Speaker 1>kept himself rather to himself in his own pantry. He

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<v Speaker 1>didn't see that Stephen was there. He was moreover flustered

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<v Speaker 1>and less slow speech than was his wont master may

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<v Speaker 1>cut up his own wine if he likes of an evening,

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00:13:16.279 --> 00:13:18.360
<v Speaker 1>was his first remark. Either I do it in the

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<v Speaker 1>daytime or not at all, Missus Bunch, I don't know

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<v Speaker 1>what it may be very like its rats or the

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<v Speaker 1>wind got into the cellars. But now I'm not as

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<v Speaker 1>young as I was, and I can't go through with

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<v Speaker 1>it as I have done. Well, mister Parks, you know

235
00:13:32.000 --> 00:13:34.440
<v Speaker 1>it is a surprising place for rats. It's the hall.

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<v Speaker 1>I'm not denying that, missus bunch. And to be sure,

237
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<v Speaker 1>many a time I've heard the tale from the men

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<v Speaker 1>in the shipyards about the rats that could speak. I

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00:13:42.360 --> 00:13:45.519
<v Speaker 1>never laid no confidence in that before. But to night,

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<v Speaker 1>if i'd demean myself to lay my ear to the

241
00:13:48.480 --> 00:13:51.240
<v Speaker 1>door of the further bin, I could pretty much have

242
00:13:51.320 --> 00:13:54.919
<v Speaker 1>heard what they were saying. Oh there, mister Parks, have

243
00:13:55.000 --> 00:14:00.000
<v Speaker 1>no patience with your fancies rats talking in the wine cellar. Indeed, well,

244
00:14:00.080 --> 00:14:02.799
<v Speaker 1>missus bunch, I've no wish to argue with you. All

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00:14:02.879 --> 00:14:05.120
<v Speaker 1>I say is, if you choose to go to the

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00:14:05.159 --> 00:14:07.720
<v Speaker 1>farbin and lay your ear to the door, you may

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00:14:07.799 --> 00:14:12.320
<v Speaker 1>prove my words this minute. What nonsense you do talk,

248
00:14:12.440 --> 00:14:15.759
<v Speaker 1>mister Parks, not fit for children to listen to. Why

249
00:14:15.799 --> 00:14:18.440
<v Speaker 1>you'll be frightening Master Stephen. They're out of his wits.

250
00:14:18.559 --> 00:14:23.039
<v Speaker 1>What Master Stephen said, Parks awaking to the consciousness of

251
00:14:23.080 --> 00:14:26.440
<v Speaker 1>the boy's presence. Master Stephen knows well enough when I'm

252
00:14:26.519 --> 00:14:31.159
<v Speaker 1>playing a joke with you, missus bunch. In fact, Master

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<v Speaker 1>Stephen knew much too well to suppose that mister parks had,

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<v Speaker 1>in the first instance intended a joke. He was interested,

255
00:14:38.600 --> 00:14:43.440
<v Speaker 1>not altogether pleasantly in the situation, but all his questions

256
00:14:43.440 --> 00:14:46.559
<v Speaker 1>were unsuccessful in inducing the butler to give any more

257
00:14:46.559 --> 00:14:50.600
<v Speaker 1>detailed account of his experiences in the wine cellar. We

258
00:14:50.679 --> 00:14:54.720
<v Speaker 1>have now arrived at March twenty fourth, eighteen twelve. It

259
00:14:54.840 --> 00:14:58.120
<v Speaker 1>was a day of curious experiences for Stephen, a windy,

260
00:14:58.279 --> 00:15:00.799
<v Speaker 1>noisy day which filled the house in the gardens with

261
00:15:00.799 --> 00:15:04.159
<v Speaker 1>a restless impression. As Stephen stood by the fence of

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00:15:04.159 --> 00:15:07.240
<v Speaker 1>the grounds and looked out into the park, he felt

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00:15:07.519 --> 00:15:11.639
<v Speaker 1>as if an endless procession of unseen people were sweeping

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00:15:11.679 --> 00:15:15.919
<v Speaker 1>past him on the wind, borne on resistlessly and aimlessly,

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00:15:16.440 --> 00:15:19.720
<v Speaker 1>vainly striving to stop themselves, to catch at something that

266
00:15:19.840 --> 00:15:23.000
<v Speaker 1>might arrest their flight and bring them once again into

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00:15:23.039 --> 00:15:26.559
<v Speaker 1>contact with the living world of which they had formed

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00:15:26.559 --> 00:15:31.320
<v Speaker 1>a part. After luncheon that day, mister Abney said, Stephen,

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<v Speaker 1>my boy, do you think you could manage to come

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00:15:34.039 --> 00:15:37.039
<v Speaker 1>to me tonight as late as eleven o'clock in my study.

271
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<v Speaker 1>I shall be busy until that time, and I wish

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00:15:39.960 --> 00:15:42.559
<v Speaker 1>to show you something connected with your future life, which

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00:15:42.600 --> 00:15:46.279
<v Speaker 1>it is most important that you should know. You are

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00:15:46.360 --> 00:15:48.720
<v Speaker 1>not to mention this matter to missus Bunch, or to

275
00:15:48.960 --> 00:15:50.960
<v Speaker 1>anyone else in the house, and you had better go

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00:15:50.960 --> 00:15:55.559
<v Speaker 1>to your room at the usual time. Here was a

277
00:15:55.600 --> 00:15:59.440
<v Speaker 1>new excitement added to life. Stephen eagerly grasped at the

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00:15:59.480 --> 00:16:03.039
<v Speaker 1>opportunity of sitting up till eleven o'clock. He looked in

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00:16:03.080 --> 00:16:05.519
<v Speaker 1>at the library door on his way upstairs that evening

280
00:16:05.799 --> 00:16:08.879
<v Speaker 1>and saw brazier which he had often noticed in the

281
00:16:08.919 --> 00:16:13.120
<v Speaker 1>corner of the room, moved out before the fire. An

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00:16:13.120 --> 00:16:16.159
<v Speaker 1>old silver gilt cup stood on the table filled with

283
00:16:16.240 --> 00:16:19.200
<v Speaker 1>red wine, and some written sheets of paper lay near it.

284
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<v Speaker 1>Mister Abney was sprinkling some incense on the brazier from

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<v Speaker 1>a round silver box as Stephen passed, but did not

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00:16:25.799 --> 00:16:29.840
<v Speaker 1>seem to notice his step. The wind had fallen and

287
00:16:29.879 --> 00:16:32.600
<v Speaker 1>there was a still night and a full moon. At

288
00:16:32.639 --> 00:16:35.960
<v Speaker 1>about ten o'clock, Stephen was standing at the open window

289
00:16:36.000 --> 00:16:40.000
<v Speaker 1>of his bedroom, looking out over the country. Still as

290
00:16:40.000 --> 00:16:44.120
<v Speaker 1>the night was, the mysterious population of the distant moonlit

291
00:16:44.159 --> 00:16:48.080
<v Speaker 1>woods was not yet lulled to rest. From time to time,

292
00:16:48.399 --> 00:16:52.799
<v Speaker 1>strange cries, as of lost and despairing wanderers sounded from

293
00:16:52.840 --> 00:16:56.399
<v Speaker 1>across the mere. They might be the notes of owls

294
00:16:56.559 --> 00:17:00.440
<v Speaker 1>or water birds. Yet they did not quite resemble lither

295
00:17:00.600 --> 00:17:07.279
<v Speaker 1>sound were they not coming nearer? Now they sounded from

296
00:17:07.319 --> 00:17:09.799
<v Speaker 1>the nearer side of the water, and in a few

297
00:17:09.839 --> 00:17:12.839
<v Speaker 1>moments they seemed to be floating about among the shrubberies.

298
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<v Speaker 1>Then they ceased. But just as Stephen was thinking of

299
00:17:16.640 --> 00:17:19.759
<v Speaker 1>shutting the window and resuming his reading of Robinson Crusoe,

300
00:17:20.160 --> 00:17:22.440
<v Speaker 1>he caught sight of two figures standing on the gravel

301
00:17:22.519 --> 00:17:24.839
<v Speaker 1>terrace that ran along the garden side of the hall,

302
00:17:25.839 --> 00:17:28.839
<v Speaker 1>the figures of a boy and girl, as it seemed

303
00:17:29.759 --> 00:17:35.240
<v Speaker 1>they stood side by side, looking up the windows. Something

304
00:17:35.279 --> 00:17:38.319
<v Speaker 1>in the form of the girl recalled irresistibly his dream

305
00:17:38.359 --> 00:17:41.359
<v Speaker 1>of the figure in the bath. The boy inspired him

306
00:17:41.400 --> 00:17:47.240
<v Speaker 1>with more acute fear. Whilst the girl stood still, half smiling,

307
00:17:47.839 --> 00:17:51.960
<v Speaker 1>with her hands clasped over her heart, the boy, a

308
00:17:52.000 --> 00:17:55.720
<v Speaker 1>thin shape with black hair and ragged clothing, raised his

309
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<v Speaker 1>arms in the air with an appearance of menace and

310
00:17:59.000 --> 00:18:04.559
<v Speaker 1>of unappeasable hunger and longing. The moon shone upon his

311
00:18:04.720 --> 00:18:09.000
<v Speaker 1>almost transparent hands, and Stephen saw that the nails were

312
00:18:09.119 --> 00:18:14.119
<v Speaker 1>fearfully long, and that the light shone through them. As

313
00:18:14.119 --> 00:18:18.839
<v Speaker 1>he stood with his arms thus raised, he disclosed a

314
00:18:19.000 --> 00:18:23.839
<v Speaker 1>terrifying spectacle. On the left side of his chest there

315
00:18:23.880 --> 00:18:27.960
<v Speaker 1>opened a black and gaping rent, and there fell upon

316
00:18:28.000 --> 00:18:32.200
<v Speaker 1>Stephen's brain, rather than upon his ear, the impression of

317
00:18:32.279 --> 00:18:35.720
<v Speaker 1>one of those hungry and desolate cries that he'd heard

318
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<v Speaker 1>resounding over the woods of Aswerby all that evening. In

319
00:18:39.920 --> 00:18:43.319
<v Speaker 1>another moment, this dreadful pair had moved swiftly and noiselessly

320
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<v Speaker 1>over the dry gravel, and he saw them no more inexpressibly.

321
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<v Speaker 1>Frightened as he was, he determined to take his candle

322
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<v Speaker 1>and go down to mister Abney's study, for the hour

323
00:18:55.599 --> 00:18:59.640
<v Speaker 1>appointed for their meeting was near at hand. The study

324
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<v Speaker 1>or library opened out of the front hall on one side,

325
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<v Speaker 1>and Stephen, urged on by his terrors, did not take

326
00:19:06.559 --> 00:19:09.799
<v Speaker 1>long in getting there. To effect an entrance was not

327
00:19:09.839 --> 00:19:12.599
<v Speaker 1>so easy. The door was not locked, he felt sure,

328
00:19:12.640 --> 00:19:14.759
<v Speaker 1>for the key was on the outside of it. As usual,

329
00:19:15.680 --> 00:19:19.400
<v Speaker 1>He's repeated not produced no answer. Mister Abney was engaged,

330
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<v Speaker 1>he was speaking. What Why did he try to cry out?

331
00:19:24.000 --> 00:19:28.119
<v Speaker 1>And why was the cry choked in his throat? Had

332
00:19:28.160 --> 00:19:34.240
<v Speaker 1>he too seen the mysterious children? But now everything was quiet,

333
00:19:35.240 --> 00:19:40.000
<v Speaker 1>and the door yielded to Stephen's terrified and frantic pushing

334
00:19:41.640 --> 00:19:45.359
<v Speaker 1>on the table. In mister Abney's study, certain papers were

335
00:19:45.359 --> 00:19:49.200
<v Speaker 1>found which explained the situation to Stephen Elliott when he

336
00:19:49.359 --> 00:19:52.759
<v Speaker 1>was of an age to understand them. The most important

337
00:19:52.759 --> 00:19:57.039
<v Speaker 1>sentences were as follows. It was a belief very strongly

338
00:19:57.119 --> 00:20:00.119
<v Speaker 1>and generally held by the ancients, of whose wisdom in

339
00:20:00.160 --> 00:20:03.799
<v Speaker 1>these matters. I have had such experience as induces me

340
00:20:03.880 --> 00:20:07.759
<v Speaker 1>to place confidence in our assertions that by enacting certain

341
00:20:07.799 --> 00:20:11.559
<v Speaker 1>processes which to us moderns have something of a barbaric complexion,

342
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<v Speaker 1>a very remarkable enlightenment of the spiritual faculties in man

343
00:20:16.839 --> 00:20:21.519
<v Speaker 1>may be attained, that, for example, by absorbing the personalities

344
00:20:21.519 --> 00:20:24.880
<v Speaker 1>of a certain number of his fellow creatures, an individual

345
00:20:24.960 --> 00:20:29.200
<v Speaker 1>may gain a complete ascendancy over those orders of spiritual

346
00:20:29.279 --> 00:20:34.200
<v Speaker 1>beings which control the elemental forces of our universe. It

347
00:20:34.279 --> 00:20:37.119
<v Speaker 1>is recorded of Simon Magus that he was able to

348
00:20:37.119 --> 00:20:40.720
<v Speaker 1>fly in the air, to become invisible, or to assume

349
00:20:40.799 --> 00:20:43.839
<v Speaker 1>any form he pleased, by the agency of the soul

350
00:20:43.920 --> 00:20:47.519
<v Speaker 1>of a boy whom, to use the libelous phrase employed

351
00:20:47.559 --> 00:20:51.200
<v Speaker 1>by the author of the Clementine recognitions, he had murdered.

352
00:20:52.720 --> 00:20:55.799
<v Speaker 1>I find it set down moreover, with considerable detail in

353
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<v Speaker 1>the writings of Hermes Trismegistus, that similar happi reessis may

354
00:21:00.759 --> 00:21:03.720
<v Speaker 1>be produced by the absorption of the hearts of not

355
00:21:03.920 --> 00:21:07.920
<v Speaker 1>less than three human beings below the age of twenty

356
00:21:07.960 --> 00:21:12.119
<v Speaker 1>one years. To the testing the truth of the receipt,

357
00:21:12.720 --> 00:21:16.160
<v Speaker 1>I have devoted the greater part of the last twenty years,

358
00:21:16.200 --> 00:21:21.000
<v Speaker 1>selecting as the corporeavilia of my experiment such persons as

359
00:21:21.039 --> 00:21:27.079
<v Speaker 1>could conveniently be removed without occasioning a sensible gap in society.

360
00:21:28.079 --> 00:21:30.759
<v Speaker 1>The first step I affected by the removal of one

361
00:21:30.920 --> 00:21:35.720
<v Speaker 1>Phoebe Stanley, a girl of gipsy extraction, on March twenty fourth,

362
00:21:35.799 --> 00:21:40.319
<v Speaker 1>seventeen ninety two. The second by the removal of a

363
00:21:40.400 --> 00:21:45.480
<v Speaker 1>wandering Italian lad named Giovanni Pauli, on the night of

364
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<v Speaker 1>March the twenty third, eighteen o five. The final victim

365
00:21:50.960 --> 00:21:53.960
<v Speaker 1>to employ a word repugnant in the highest degree to

366
00:21:54.000 --> 00:21:58.640
<v Speaker 1>my feelings must be my cousin Stephen Elliot. His day

367
00:21:58.839 --> 00:22:04.599
<v Speaker 1>must be this March twenty fourth, eighteen twelve. The best

368
00:22:04.640 --> 00:22:07.799
<v Speaker 1>means of affecting the required absorption is to remove the

369
00:22:07.920 --> 00:22:11.359
<v Speaker 1>heart from a living subject, to reduce it to ashes,

370
00:22:11.799 --> 00:22:13.799
<v Speaker 1>and to mingle them with about a pint of some

371
00:22:13.920 --> 00:22:18.240
<v Speaker 1>red wine, preferably port the remains of the first two subjects.

372
00:22:18.279 --> 00:22:21.119
<v Speaker 1>At least it will be well to conceal them. A

373
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<v Speaker 1>disused bathroom or a wine cellar will be found convenient

374
00:22:25.720 --> 00:22:29.079
<v Speaker 1>for such a purpose. Some annoyance may be experienced from

375
00:22:29.079 --> 00:22:32.880
<v Speaker 1>the psychic portion of the subjects, which popular language dignifies

376
00:22:32.880 --> 00:22:37.599
<v Speaker 1>with the name of ghosts. But the man of philosophic temperament,

377
00:22:38.000 --> 00:22:41.279
<v Speaker 1>to whom alone the experiment is appropriate, will be a

378
00:22:41.279 --> 00:22:44.000
<v Speaker 1>little prone to attach importance to the feep efforts of

379
00:22:44.039 --> 00:22:48.240
<v Speaker 1>these beings to wreak their vengeance on him. I contemplate

380
00:22:48.359 --> 00:22:53.559
<v Speaker 1>with the liveliest satisfaction, the enlarged and emancipated existence which

381
00:22:53.599 --> 00:22:58.799
<v Speaker 1>the experiment, if successful, will confer on me, not only

382
00:22:58.920 --> 00:23:02.799
<v Speaker 1>placing me beyond the reach of human justice, so called

383
00:23:03.240 --> 00:23:09.160
<v Speaker 1>by eliminating to a great extent the prospect of death itself.

384
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<v Speaker 1>Mister Abney was found in his chair, his head thrown back,

385
00:23:15.359 --> 00:23:18.559
<v Speaker 1>his face stamped with an expression of rage, fright, and

386
00:23:19.000 --> 00:23:24.799
<v Speaker 1>mortal pain. In his left side was a terrible lacerated wound,

387
00:23:25.119 --> 00:23:28.680
<v Speaker 1>exposing the heart. There was no blood on his hands,

388
00:23:29.279 --> 00:23:31.319
<v Speaker 1>and the long knife that lay on the table was

389
00:23:31.559 --> 00:23:36.359
<v Speaker 1>perfectly clean. A savage wildcat might have inflicted the injuries.

390
00:23:36.880 --> 00:23:39.400
<v Speaker 1>The window of the study was open, and it was

391
00:23:39.519 --> 00:23:43.279
<v Speaker 1>the opinion of the coroner that mister Abney had met

392
00:23:43.319 --> 00:23:47.519
<v Speaker 1>his death by the agency of some wild creature. But

393
00:23:47.680 --> 00:23:51.799
<v Speaker 1>Stephen Elliot's study of the papers I have quoted led

394
00:23:51.839 --> 00:24:08.720
<v Speaker 1>him to a very different conclusion. Everybody dies. So that

395
00:24:08.799 --> 00:24:11.680
<v Speaker 1>was lost hearts by m R James. Now, actually some

396
00:24:11.680 --> 00:24:15.640
<v Speaker 1>people reckon that's their favorite Mr James story. I'm going

397
00:24:15.680 --> 00:24:17.240
<v Speaker 1>to talk a bit about the story. Obviously, I'm going

398
00:24:17.319 --> 00:24:19.759
<v Speaker 1>to say a tiny bit about Mr James. We know

399
00:24:20.519 --> 00:24:24.920
<v Speaker 1>Montague Roads pretty well by now, and but for those

400
00:24:24.960 --> 00:24:27.680
<v Speaker 1>of you who don't know him, he is the probably

401
00:24:27.759 --> 00:24:34.920
<v Speaker 1>considered the master of the classic ghost story. His brother

402
00:24:34.960 --> 00:24:38.960
<v Speaker 1>Henry James. That's a joke, Henry James, turn of the

403
00:24:39.000 --> 00:24:40.680
<v Speaker 1>screw he gets in the I mean, there are a

404
00:24:40.680 --> 00:24:43.519
<v Speaker 1>lot of people I rate, you know, but Mr James

405
00:24:43.599 --> 00:24:47.240
<v Speaker 1>is generally probably considered the best one. So he was

406
00:24:47.240 --> 00:24:50.279
<v Speaker 1>born in eighteen sixty two in good and Stone in Kent,

407
00:24:50.880 --> 00:24:53.000
<v Speaker 1>and his father was a clergyman. He spent much of

408
00:24:53.039 --> 00:24:56.359
<v Speaker 1>his life in Suffolk and that part of East Anglia.

409
00:24:56.480 --> 00:25:04.079
<v Speaker 1>Suffolk Norfolk, Cambridgeshire. This one's in Lincoln is that's his patch. Really.

410
00:25:05.359 --> 00:25:10.119
<v Speaker 1>He went to King's College, Cambridge and he was a

411
00:25:10.119 --> 00:25:13.279
<v Speaker 1>brilliant scholar and it became provost at Kings in nineteen

412
00:25:13.279 --> 00:25:15.680
<v Speaker 1>oh five. He went to school at Eton, which is

413
00:25:15.680 --> 00:25:21.319
<v Speaker 1>in oh, come on Tony Berkshire. Imagine me not knowing

414
00:25:21.359 --> 00:25:24.559
<v Speaker 1>that to the western London on the Thames anyway, and

415
00:25:24.599 --> 00:25:28.680
<v Speaker 1>it's at Eton, it's at Windsor and the pre eminent

416
00:25:29.039 --> 00:25:33.799
<v Speaker 1>British public school. And he went there and he later

417
00:25:33.880 --> 00:25:38.440
<v Speaker 1>worked there and died there when he was provost there

418
00:25:38.440 --> 00:25:41.079
<v Speaker 1>in nineteen eighteen. So his life, what I'm trying to

419
00:25:41.079 --> 00:25:43.640
<v Speaker 1>say is and that isn't East Anglia, but his life

420
00:25:43.960 --> 00:25:48.240
<v Speaker 1>was spent between those two places. Really. He lived a

421
00:25:48.319 --> 00:25:53.839
<v Speaker 1>very conservative life probably in every sense. He traveled a bit,

422
00:25:54.440 --> 00:25:57.759
<v Speaker 1>mainly in pursuit of finding old churches and old manuscripts,

423
00:25:58.000 --> 00:26:00.480
<v Speaker 1>and of course that comes through in his story, you know,

424
00:26:00.480 --> 00:26:05.799
<v Speaker 1>and he's classic, the classic Mr James protagonist is someone

425
00:26:05.880 --> 00:26:09.119
<v Speaker 1>a bit like him. I think he was a very

426
00:26:09.119 --> 00:26:10.799
<v Speaker 1>intelligent man. I think he had a lot of wit,

427
00:26:11.480 --> 00:26:14.720
<v Speaker 1>and so you know, he was perhaps poking fun of

428
00:26:14.839 --> 00:26:17.640
<v Speaker 1>himself as well when he wrote these stories, and they

429
00:26:17.640 --> 00:26:21.240
<v Speaker 1>have these antiquarians who were driven by this lust four

430
00:26:21.880 --> 00:26:26.519
<v Speaker 1>old things manuscripts or ruins or treasure sometimes, but it's

431
00:26:26.559 --> 00:26:31.359
<v Speaker 1>all to do with all this palaeontological stuff. Paleographer, he

432
00:26:31.440 --> 00:26:34.640
<v Speaker 1>was a paleographer, not a paleontologist. That's about dinosaur, isn't it.

433
00:26:35.240 --> 00:26:40.440
<v Speaker 1>Paleo old There you go anyway, So he was seventy

434
00:26:40.440 --> 00:26:43.279
<v Speaker 1>three when he died, and I've talked about him at length.

435
00:26:43.319 --> 00:26:45.279
<v Speaker 1>Lots of people talk about I just let me talk

436
00:26:45.319 --> 00:26:49.559
<v Speaker 1>about this story, this story Lost Hearts. So it was

437
00:26:49.559 --> 00:26:51.839
<v Speaker 1>first published in eighteen ninety five in the pal Mall

438
00:26:52.000 --> 00:26:55.160
<v Speaker 1>Gazette magazine rather and was collected the following year in

439
00:26:55.160 --> 00:26:58.880
<v Speaker 1>Ghost Stories of an Antiquary, published by Edward Arnold in

440
00:26:59.000 --> 00:27:03.799
<v Speaker 1>nineteen oh four, which is doesn't make sense. The collection's

441
00:27:03.839 --> 00:27:06.039
<v Speaker 1>publication date is sometimes given as nineteen oh foe and

442
00:27:06.119 --> 00:27:08.319
<v Speaker 1>sometimes as nineteen oh five. It still makes no sense

443
00:27:08.680 --> 00:27:11.519
<v Speaker 1>if it says the first is eighteen ninety five and

444
00:27:11.519 --> 00:27:14.519
<v Speaker 1>then the next year. Anyway, that's about when it came out,

445
00:27:14.599 --> 00:27:18.359
<v Speaker 1>sort of end of the nineteenth beginning of the twentieth century.

446
00:27:19.000 --> 00:27:21.480
<v Speaker 1>The interesting thing lost Hearts. There's lots of references to

447
00:27:21.559 --> 00:27:23.759
<v Speaker 1>hearts isn't there in it. It just drops the word

448
00:27:23.799 --> 00:27:26.319
<v Speaker 1>heart in which is literally artist. But I quite liked it,

449
00:27:27.599 --> 00:27:30.119
<v Speaker 1>you know, So it's teasing, it's playing with the audience.

450
00:27:30.200 --> 00:27:34.839
<v Speaker 1>I think he considered it one of his least satisfactory stories,

451
00:27:35.240 --> 00:27:38.400
<v Speaker 1>and that tells you something about James himself. So the

452
00:27:38.480 --> 00:27:44.200
<v Speaker 1>classic Gemesian method of writing a story that unnerves you

453
00:27:44.759 --> 00:27:49.559
<v Speaker 1>is to put the horror off stage when it comes

454
00:27:49.559 --> 00:27:51.119
<v Speaker 1>on stage. We'll talk about that in a minute, but

455
00:27:52.039 --> 00:27:56.079
<v Speaker 1>it's hinted. It's the thing down the corridor you don't

456
00:27:56.119 --> 00:27:58.440
<v Speaker 1>go towards. It's the thing in the library that you

457
00:27:58.559 --> 00:28:01.200
<v Speaker 1>barely see, you know. Sometimes it comes on stage. To

458
00:28:01.240 --> 00:28:03.160
<v Speaker 1>be fair, I mean it does come on stage, yeah,

459
00:28:03.240 --> 00:28:05.920
<v Speaker 1>but you know it's hinto that it's not explained, and

460
00:28:05.960 --> 00:28:10.440
<v Speaker 1>I suppose yeah, that's his strength, really, and he was

461
00:28:10.519 --> 00:28:12.920
<v Speaker 1>explicit about that. He didn't want to explain it because

462
00:28:13.359 --> 00:28:15.079
<v Speaker 1>we all know the things you can once you I've

463
00:28:15.079 --> 00:28:18.279
<v Speaker 1>said this many times about horror and ghost stories and things.

464
00:28:18.440 --> 00:28:21.240
<v Speaker 1>The reason that vampires generally having a little fear for

465
00:28:21.359 --> 00:28:23.400
<v Speaker 1>us now is that we know all about them. We

466
00:28:23.480 --> 00:28:25.559
<v Speaker 1>know about were wolves, we know about vampires, we know

467
00:28:25.640 --> 00:28:29.359
<v Speaker 1>about Frankenstein's I like saying that because I know it's

468
00:28:29.400 --> 00:28:31.720
<v Speaker 1>gonna that's not isn't it. I know it's gonna accept

469
00:28:31.720 --> 00:28:33.799
<v Speaker 1>some people. It's gonna be coffee thrown at the walls.

470
00:28:34.400 --> 00:28:37.799
<v Speaker 1>Frankenstein was the doctor. It's franken Stein's monster and you

471
00:28:37.839 --> 00:28:40.920
<v Speaker 1>can't just call them Frankenstein's and hurling coffee at the

472
00:28:40.960 --> 00:28:43.559
<v Speaker 1>wolves of course, sudden he said to me, what you

473
00:28:43.599 --> 00:28:46.119
<v Speaker 1>need is have the eggshell paint. So if you're in

474
00:28:46.119 --> 00:28:48.480
<v Speaker 1>the habit of getting very upset, why I'm saying through

475
00:28:48.599 --> 00:28:51.160
<v Speaker 1>hurling your coffee at the walls. I mean, hurling is

476
00:28:51.200 --> 00:28:53.920
<v Speaker 1>better than spitting. That's fair. I mean in terms of damage,

477
00:28:54.000 --> 00:28:57.240
<v Speaker 1>hurling is more dangerous and does more damage. But spitting

478
00:28:57.279 --> 00:28:59.000
<v Speaker 1>is just a bit vulgar, isn't it. I mean, is

479
00:28:59.119 --> 00:29:03.440
<v Speaker 1>it's totally vulgar. It's horrific. So you know I'm repulsed

480
00:29:03.440 --> 00:29:07.559
<v Speaker 1>by it anyway, So yeah, eggshell pain is what you want.

481
00:29:08.960 --> 00:29:12.519
<v Speaker 1>So Frankenstein's yeah, we know all about them, don't we,

482
00:29:12.599 --> 00:29:15.400
<v Speaker 1>And so they're not frightening anymore. So the thing is is,

483
00:29:15.599 --> 00:29:19.920
<v Speaker 1>James knew you just this. I've talked before about the

484
00:29:20.039 --> 00:29:25.599
<v Speaker 1>Zigana contention, which I think is she was a Bulgarian psychologist.

485
00:29:25.720 --> 00:29:27.279
<v Speaker 1>I can't remember her first name. Now I'm having a

486
00:29:27.359 --> 00:29:30.279
<v Speaker 1>morning of it blowing a hurly here. You know, dogs

487
00:29:30.279 --> 00:29:32.000
<v Speaker 1>didn't want to go out. I don't know if you

488
00:29:32.000 --> 00:29:34.440
<v Speaker 1>could hear the rain in the recording. I mean, I

489
00:29:34.480 --> 00:29:36.880
<v Speaker 1>have a little choice of when I can record sometimes,

490
00:29:36.880 --> 00:29:39.400
<v Speaker 1>and it can be quite noisy in the background. But

491
00:29:39.880 --> 00:29:43.599
<v Speaker 1>there we are. It's just how it is, mate, anyway,

492
00:29:43.720 --> 00:29:49.000
<v Speaker 1>so rare in the background, mind all over the place,

493
00:29:50.039 --> 00:29:54.519
<v Speaker 1>going to struggle on with it never mind nevertheless. So yeah,

494
00:29:54.559 --> 00:29:58.359
<v Speaker 1>it's not like his normal thing, is it. James is

495
00:29:58.359 --> 00:30:00.680
<v Speaker 1>also the master of the weird. Very often some of

496
00:30:00.720 --> 00:30:03.279
<v Speaker 1>his stuff is very weird, like the thing on the bed.

497
00:30:03.359 --> 00:30:07.359
<v Speaker 1>I keep coming back to a whistle, the weird contorted

498
00:30:07.480 --> 00:30:10.599
<v Speaker 1>shape in the mets of tint In, mister Humphries and

499
00:30:10.640 --> 00:30:12.839
<v Speaker 1>his inheritance, the thing in the black ink. I mean,

500
00:30:12.839 --> 00:30:16.720
<v Speaker 1>it's lovecrafting and its weirdness, because if you remember, the

501
00:30:16.759 --> 00:30:20.799
<v Speaker 1>definition of weird fiction is that the juxtaposes things should

502
00:30:20.839 --> 00:30:23.000
<v Speaker 1>not be together and gives us a shock because that

503
00:30:23.119 --> 00:30:26.519
<v Speaker 1>shouldn't be there. That's not right, it's wrong. You know,

504
00:30:26.799 --> 00:30:31.960
<v Speaker 1>that's a much overused word in horror pros. It was wrong.

505
00:30:32.119 --> 00:30:34.759
<v Speaker 1>That's like you've actually you've got no you can't be

506
00:30:34.799 --> 00:30:37.759
<v Speaker 1>bothered explaining anymore about it. You just say that and oh,

507
00:30:37.839 --> 00:30:39.839
<v Speaker 1>hope it works. It doesn't work anymore. We've heard it

508
00:30:39.880 --> 00:30:43.160
<v Speaker 1>too many times. But anyway, so that's his normal thing.

509
00:30:43.200 --> 00:30:45.920
<v Speaker 1>He uses a lot of weird stuff. He didn't think

510
00:30:46.039 --> 00:30:51.559
<v Speaker 1>much of Lovecraft. Lovecraft thought he was great. But nevertheless,

511
00:30:51.559 --> 00:30:56.480
<v Speaker 1>I think James does use weird fiction techniques, probably without

512
00:30:57.240 --> 00:30:59.799
<v Speaker 1>either acknowledging it or knowing it was related, because I mean,

513
00:30:59.839 --> 00:31:01.480
<v Speaker 1>he work, he lived in the different I'm going to

514
00:31:01.480 --> 00:31:04.000
<v Speaker 1>say something about else about James. You know, this is

515
00:31:04.000 --> 00:31:05.839
<v Speaker 1>a guy. He's the son of an Anglican clergyman. He

516
00:31:05.839 --> 00:31:11.759
<v Speaker 1>lives a very narrow bounded life in respectability in what

517
00:31:11.799 --> 00:31:15.200
<v Speaker 1>you do. And yet and we could, if we were minded,

518
00:31:15.279 --> 00:31:17.839
<v Speaker 1>talk about shadows. You know, there's something in him that

519
00:31:17.880 --> 00:31:20.440
<v Speaker 1>wants to get out and comes out in his stories.

520
00:31:20.480 --> 00:31:24.839
<v Speaker 1>And that's fine, that's fine, But this is not weird fiction.

521
00:31:25.000 --> 00:31:28.799
<v Speaker 1>This is almost like looking forward to mid twentieth century

522
00:31:29.519 --> 00:31:33.519
<v Speaker 1>gore horror. So you know, as you remember those what's his

523
00:31:33.599 --> 00:31:37.400
<v Speaker 1>name vantale horror books, pan horror books that used to

524
00:31:37.440 --> 00:31:39.759
<v Speaker 1>sit and read when you're a kid, I did, and

525
00:31:40.119 --> 00:31:44.000
<v Speaker 1>they were like gruesome skulls and rats in your skull

526
00:31:44.240 --> 00:31:50.960
<v Speaker 1>and horrific slugs, horrific, And I think, yeah, there's all

527
00:31:51.000 --> 00:31:55.160
<v Speaker 1>sorts of categories of what scares us. I've said about

528
00:31:55.160 --> 00:31:57.839
<v Speaker 1>the weird, and then there's a earie. We won't go

529
00:31:57.920 --> 00:32:02.920
<v Speaker 1>into that. Then there's the unheimly, the uncanny. We've talked

530
00:32:02.960 --> 00:32:08.640
<v Speaker 1>about those at length. Elsewhere, there is the there's a dismemberment,

531
00:32:09.000 --> 00:32:11.880
<v Speaker 1>because you know, we are a species, we are an animal,

532
00:32:11.960 --> 00:32:14.079
<v Speaker 1>and we look and see dismembered things we think, ooh,

533
00:32:14.160 --> 00:32:18.119
<v Speaker 1>predator scared. Simple it's a simple thing. I mean, the

534
00:32:18.160 --> 00:32:21.079
<v Speaker 1>whole idea about the weird is related to that. It's

535
00:32:21.160 --> 00:32:23.880
<v Speaker 1>like we cannot trap it in our net of conceptions.

536
00:32:24.079 --> 00:32:26.400
<v Speaker 1>What I'm saying is we can't zero in on it

537
00:32:26.480 --> 00:32:28.480
<v Speaker 1>and go, yeah, I know what that is. I'm in control,

538
00:32:28.559 --> 00:32:30.319
<v Speaker 1>I know what I'm going to do. That's it. The

539
00:32:30.440 --> 00:32:33.240
<v Speaker 1>weird works because it's like, WHOA, what's going on? This

540
00:32:33.400 --> 00:32:35.680
<v Speaker 1>isn't out of my control. I need to control it.

541
00:32:36.000 --> 00:32:41.440
<v Speaker 1>I'm anxious. Whereas the if you like, the gore, horror

542
00:32:41.839 --> 00:32:44.079
<v Speaker 1>is right there in your face. Actually it's not just

543
00:32:44.200 --> 00:32:46.799
<v Speaker 1>a shadow that might be a predator. Look what it's done.

544
00:32:46.880 --> 00:32:49.440
<v Speaker 1>It's a predator, so that's a bit more immediate. But

545
00:32:49.559 --> 00:32:52.920
<v Speaker 1>you know, James doesn't only do this but except I mean,

546
00:32:53.000 --> 00:32:58.440
<v Speaker 1>you know what those images of the heart being removed,

547
00:32:59.079 --> 00:33:01.200
<v Speaker 1>it's very graphic, you know. And then at the end

548
00:33:01.240 --> 00:33:03.119
<v Speaker 1>when he says, Oh, you're gonna you've got to get

549
00:33:03.119 --> 00:33:05.519
<v Speaker 1>the heart and you've gotta have it with a bit

550
00:33:05.519 --> 00:33:08.839
<v Speaker 1>of port preferably port. Any red wine would do, but

551
00:33:09.039 --> 00:33:13.279
<v Speaker 1>port fortified a bit sweeter. Actually proper port isn't that

552
00:33:13.480 --> 00:33:17.640
<v Speaker 1>sweet as it isn't as sweet from a portal in

553
00:33:18.279 --> 00:33:23.759
<v Speaker 1>Portugal or ports So yeah, he goes into that thing

554
00:33:23.839 --> 00:33:26.160
<v Speaker 1>and it's sort of like if you get to Clive Barker.

555
00:33:26.200 --> 00:33:29.039
<v Speaker 1>I just bought Clive backer book the other day, Weave World,

556
00:33:29.079 --> 00:33:31.359
<v Speaker 1>which is one of his fantasy things, and I had

557
00:33:31.400 --> 00:33:33.759
<v Speaker 1>it in the nineteen eighties and I read it, but

558
00:33:33.759 --> 00:33:35.200
<v Speaker 1>I can't know much about it. And I was in

559
00:33:35.279 --> 00:33:38.200
<v Speaker 1>a Settle in Yorkshire. We had a lovely day last

560
00:33:38.480 --> 00:33:41.920
<v Speaker 1>week with my daughters. We went down to Settle on

561
00:33:41.960 --> 00:33:44.359
<v Speaker 1>the train for my birthday. It was absolutely beautiful day

562
00:33:44.799 --> 00:33:50.000
<v Speaker 1>and I went in a bookshop there called Limestone Books,

563
00:33:50.079 --> 00:33:52.720
<v Speaker 1>and it was a delightful man in charge of it,

564
00:33:52.799 --> 00:33:54.359
<v Speaker 1>and so if you're ever in Settle, and I would

565
00:33:54.400 --> 00:33:56.960
<v Speaker 1>recommend you go if you're within you know, a couple

566
00:33:57.000 --> 00:34:00.960
<v Speaker 1>of hundred miles at least, and get yourselves. They're preferably

567
00:34:01.000 --> 00:34:04.160
<v Speaker 1>on a good day. It's a love little place. Limestone Books,

568
00:34:04.279 --> 00:34:06.279
<v Speaker 1>great books. He's talking about he's going to get the

569
00:34:06.400 --> 00:34:10.719
<v Speaker 1>heat on our digression now at Limestone Books. He has

570
00:34:10.840 --> 00:34:14.360
<v Speaker 1>small print houses, so he features he has shelves of

571
00:34:14.559 --> 00:34:18.199
<v Speaker 1>small publishers, which I think is fantastic, you know. And

572
00:34:18.599 --> 00:34:20.159
<v Speaker 1>he had another one. He was saying, he's going to

573
00:34:20.199 --> 00:34:21.880
<v Speaker 1>get rid of whatever he had on that shelf, and

574
00:34:21.920 --> 00:34:25.599
<v Speaker 1>he's got this American Horror house publishing house. They're like,

575
00:34:26.079 --> 00:34:29.360
<v Speaker 1>especially it has to do American horror, and he's going

576
00:34:29.400 --> 00:34:31.000
<v Speaker 1>to have that. And I said, I'll come back for that.

577
00:34:32.199 --> 00:34:37.599
<v Speaker 1>So that was that I got there. Really Now horror

578
00:34:37.719 --> 00:34:39.679
<v Speaker 1>types of horror we were talking about. Yeah, we've talked

579
00:34:39.679 --> 00:34:43.679
<v Speaker 1>about I've got can of rehearsed that, haven't I yes,

580
00:34:43.840 --> 00:34:47.480
<v Speaker 1>Oh yeah. Clive Barker with Clive Barker is very famous

581
00:34:47.519 --> 00:34:51.199
<v Speaker 1>for the graphic descriptions of his horror, really in your

582
00:34:51.239 --> 00:34:53.159
<v Speaker 1>face graphics. And of course then we had a whole

583
00:34:53.239 --> 00:34:56.159
<v Speaker 1>slew of films that really went into the really grossness

584
00:34:56.760 --> 00:35:03.480
<v Speaker 1>of dismemberment. We could talk about the abject, but again

585
00:35:03.639 --> 00:35:06.119
<v Speaker 1>probably we won't. I've talked about that as well before,

586
00:35:07.119 --> 00:35:09.119
<v Speaker 1>Julia christ Dave or the abject, you know, one of

587
00:35:09.199 --> 00:35:12.440
<v Speaker 1>these days, I mean, I'm kind of interested in the

588
00:35:12.519 --> 00:35:15.519
<v Speaker 1>idea of actually not doing an episode that isn't about

589
00:35:15.519 --> 00:35:17.480
<v Speaker 1>a story. But we talk about these things in depth.

590
00:35:17.480 --> 00:35:20.679
<v Speaker 1>So we talk about you know, Julie Christave is the object,

591
00:35:20.840 --> 00:35:23.599
<v Speaker 1>or we can talk abo about freuds, Hencanny or what's

592
00:35:23.599 --> 00:35:26.679
<v Speaker 1>his name, Tiered or tier dot Ov he had a

593
00:35:27.000 --> 00:35:29.159
<v Speaker 1>and we can talk about monster theory and all these

594
00:35:29.239 --> 00:35:31.840
<v Speaker 1>kind of things. They're a little bit perhaps not what

595
00:35:32.079 --> 00:35:35.440
<v Speaker 1>people I mean. You know, the podcast has a number

596
00:35:35.440 --> 00:35:38.960
<v Speaker 1>of different types of listener. Some people simply want to

597
00:35:38.960 --> 00:35:40.920
<v Speaker 1>consume the stories and fall asleep, and I do these

598
00:35:41.000 --> 00:35:44.480
<v Speaker 1>long compilations. I've got the the online radio that's always on.

599
00:35:45.360 --> 00:35:49.400
<v Speaker 1>If you go to www dot Gravenheim g R A

600
00:35:49.679 --> 00:35:53.480
<v Speaker 1>V E N H E I M dot com, you

601
00:35:53.639 --> 00:35:56.719
<v Speaker 1>will find a twenty four to seven radio station that

602
00:35:56.840 --> 00:35:59.280
<v Speaker 1>just broadcast stories. I tried to cut out the commentaries

603
00:35:59.320 --> 00:36:01.400
<v Speaker 1>where I can. Some of the old ones the commentaries

604
00:36:01.400 --> 00:36:03.320
<v Speaker 1>are still there, but all the new ones I'm putting

605
00:36:03.400 --> 00:36:05.280
<v Speaker 1>up have no commentaries on, so you don't have to

606
00:36:05.360 --> 00:36:07.400
<v Speaker 1>listen to me, because I know what people say is,

607
00:36:07.559 --> 00:36:10.119
<v Speaker 1>you know, the story has a certain cadence, and then

608
00:36:10.199 --> 00:36:13.360
<v Speaker 1>I start talking in my accent changes and I talk

609
00:36:13.400 --> 00:36:15.360
<v Speaker 1>a lot faster, and I repeat myself and I say

610
00:36:15.719 --> 00:36:18.159
<v Speaker 1>and it's different, and it wakes people up, you know.

611
00:36:18.719 --> 00:36:22.280
<v Speaker 1>And so I've tried to avoid that on the live radio.

612
00:36:22.440 --> 00:36:25.800
<v Speaker 1>But perhaps it's not complete. It's not perfect anyway. So yeah,

613
00:36:25.840 --> 00:36:30.480
<v Speaker 1>he didn't. So yeah, it's what it is to say

614
00:36:30.519 --> 00:36:32.320
<v Speaker 1>about the story. He didn't like it. I think it's

615
00:36:32.360 --> 00:36:34.679
<v Speaker 1>all right. I think it is not his normal style.

616
00:36:35.559 --> 00:36:39.639
<v Speaker 1>But even so, what the things are normal about it

617
00:36:39.760 --> 00:36:43.519
<v Speaker 1>are the country house, and we have the academic. The

618
00:36:43.599 --> 00:36:46.039
<v Speaker 1>weird academic in this case is not the protagonist, is

619
00:36:46.079 --> 00:36:50.760
<v Speaker 1>the villain. But he's the same ilk, isn't he. He's

620
00:36:50.800 --> 00:36:54.599
<v Speaker 1>the same sort of dude in the track mid off,

621
00:36:54.719 --> 00:36:58.679
<v Speaker 1>the bloke who does the Who's Horrible, and he's into

622
00:36:58.800 --> 00:37:00.880
<v Speaker 1>black magic and stuff as well, and he does his will,

623
00:37:00.920 --> 00:37:03.599
<v Speaker 1>doesn't he. Obviously that's a spoiler in case you haven't

624
00:37:03.679 --> 00:37:05.920
<v Speaker 1>heard it, not much of a spoiler. I don't think

625
00:37:05.920 --> 00:37:07.760
<v Speaker 1>you get the story from what I just said then,

626
00:37:08.639 --> 00:37:12.960
<v Speaker 1>I thought that the two, the two, the two victims,

627
00:37:13.000 --> 00:37:16.519
<v Speaker 1>the previous victims. I thought Steven Elliott, the current victim,

628
00:37:16.559 --> 00:37:18.679
<v Speaker 1>isn't really there. You know, he's not really described much

629
00:37:18.679 --> 00:37:20.760
<v Speaker 1>at all. He's just an eleven year old boy. That's it.

630
00:37:21.079 --> 00:37:23.440
<v Speaker 1>He reminds me of Oliver Twist more, sir, you know

631
00:37:23.519 --> 00:37:26.400
<v Speaker 1>that he's just he's just a camera ends. Really. The

632
00:37:26.480 --> 00:37:29.400
<v Speaker 1>two other characters, the gypsy girl what you call Phoebe,

633
00:37:30.159 --> 00:37:33.639
<v Speaker 1>and the Italian herdy gurdy boy, they seem massively more

634
00:37:33.679 --> 00:37:38.000
<v Speaker 1>interesting and colorful characters actually probably not colorful because they're

635
00:37:38.039 --> 00:37:40.880
<v Speaker 1>all gray. And of course BBC did a version of this,

636
00:37:40.960 --> 00:37:42.639
<v Speaker 1>didn't they, And I think they did it quite well

637
00:37:43.000 --> 00:37:45.079
<v Speaker 1>with the two. Those two. It was a little bit

638
00:37:45.119 --> 00:37:47.239
<v Speaker 1>gothic and a bit of makeup. That was It was

639
00:37:47.280 --> 00:37:49.800
<v Speaker 1>the eighties, seventies or eighties, so it was the good

640
00:37:49.840 --> 00:37:53.199
<v Speaker 1>old days. I mean, there's a you could say a

641
00:37:53.320 --> 00:37:57.760
<v Speaker 1>lot more about it. I'm I'm always in I'm going

642
00:37:57.800 --> 00:38:01.199
<v Speaker 1>to go onto my final point, really, which which maybe extended,

643
00:38:02.039 --> 00:38:05.920
<v Speaker 1>is about James and the occult, because he has a

644
00:38:06.039 --> 00:38:09.519
<v Speaker 1>number of his characters and they they are a cult,

645
00:38:09.639 --> 00:38:14.079
<v Speaker 1>not even a cultage, isn't there wizards or these academic

646
00:38:14.119 --> 00:38:19.519
<v Speaker 1>occultists who dabble in old manuscripts and summon forth spirits.

647
00:38:20.119 --> 00:38:23.679
<v Speaker 1>So it always strikes me what was the connection of

648
00:38:23.880 --> 00:38:28.599
<v Speaker 1>James with the late Victorian early arn Edwardian a cult

649
00:38:28.719 --> 00:38:31.199
<v Speaker 1>movement in Britain. So let me talk about this. So

650
00:38:31.880 --> 00:38:33.840
<v Speaker 1>I just did some notes on this. So in the

651
00:38:33.920 --> 00:38:36.320
<v Speaker 1>late nineteenth century was, among other things, a period of

652
00:38:36.400 --> 00:38:41.000
<v Speaker 1>systematic occult entrepreneurship. Francis Barrett's The Megas eighteen oh one,

653
00:38:41.039 --> 00:38:45.800
<v Speaker 1>obviously early eighteenth century, had assembled a grippa angelic hierarchies,

654
00:38:45.880 --> 00:38:50.639
<v Speaker 1>talismanic practice, and ceremonial techniques into a single English language

655
00:38:51.280 --> 00:38:53.679
<v Speaker 1>handbook available to anyone who could find a copy. So

656
00:38:53.840 --> 00:38:58.199
<v Speaker 1>let's unpack that a little bit. So the previous So

657
00:38:58.320 --> 00:39:01.239
<v Speaker 1>the idea of the occultists, if you listen to people,

658
00:39:01.880 --> 00:39:04.840
<v Speaker 1>are there any now. But I think I don't even

659
00:39:04.920 --> 00:39:07.880
<v Speaker 1>know what chaos magic is doing. Chaos magic was a

660
00:39:07.960 --> 00:39:11.159
<v Speaker 1>later iteration of the Westerner cult scene. There may be

661
00:39:11.280 --> 00:39:13.360
<v Speaker 1>other kinds of stuff now that I'm just not okay with.

662
00:39:14.000 --> 00:39:17.159
<v Speaker 1>And that actually began in Whitby in Yorkshire in the

663
00:39:17.239 --> 00:39:21.119
<v Speaker 1>nineteen seventies, and that was a reaction to and basically

664
00:39:21.199 --> 00:39:23.360
<v Speaker 1>that says what it's about, the power of belief. It's

665
00:39:23.360 --> 00:39:26.119
<v Speaker 1>a very post modern magic. You know, it's not you

666
00:39:26.199 --> 00:39:31.559
<v Speaker 1>don't rely on the grand narrative of your utensils, you know,

667
00:39:31.639 --> 00:39:35.159
<v Speaker 1>your atheme and your chalice and your pentangle and all

668
00:39:35.199 --> 00:39:38.519
<v Speaker 1>that kind of stuff. Or about the specific words, and

669
00:39:38.599 --> 00:39:43.679
<v Speaker 1>he said pacific words, the specific words and rituals and gestures.

670
00:39:43.760 --> 00:39:46.239
<v Speaker 1>You know, they say, oh that's all monkey, monkey nuts.

671
00:39:47.239 --> 00:39:50.079
<v Speaker 1>What you need is simply the belief. So if you

672
00:39:50.159 --> 00:39:53.119
<v Speaker 1>call upon Mickey Mouse, Mickey Mouse can be a spirit

673
00:39:53.320 --> 00:39:55.960
<v Speaker 1>to work for you, or you call it great in

674
00:39:56.079 --> 00:39:58.960
<v Speaker 1>full ironic knowledge that no such creature ever really existed,

675
00:39:59.320 --> 00:40:01.760
<v Speaker 1>you can still make it work. This is chaos magic. Okay,

676
00:40:01.840 --> 00:40:04.119
<v Speaker 1>let's go back a little bit. That was a reaction

677
00:40:04.320 --> 00:40:08.039
<v Speaker 1>to the grand narrative of Victorian ceremonial magic, particularly through

678
00:40:08.400 --> 00:40:12.480
<v Speaker 1>the Golden Dawn. And it's many split offs and variants,

679
00:40:12.639 --> 00:40:14.599
<v Speaker 1>and you know, we have a down fortune is that

680
00:40:14.679 --> 00:40:19.800
<v Speaker 1>the society in a light And I'm talking off the cuffee.

681
00:40:19.840 --> 00:40:23.119
<v Speaker 1>I haven't researched this, but but you know, I'm working

682
00:40:23.199 --> 00:40:25.079
<v Speaker 1>back through time, so we get the Victorians. They were

683
00:40:25.159 --> 00:40:30.760
<v Speaker 1>very much about the words and everything had to be precisely.

684
00:40:30.840 --> 00:40:33.840
<v Speaker 1>So they were very They just bunched everything together. So

685
00:40:33.920 --> 00:40:39.880
<v Speaker 1>they were syncretic. I think they say syncretic syncretism. Anyway,

686
00:40:39.880 --> 00:40:41.800
<v Speaker 1>you put it all together, and you know what I mean.

687
00:40:42.199 --> 00:40:46.719
<v Speaker 1>And so they had a bit of Egyptian, bit of Hebrew,

688
00:40:47.199 --> 00:40:51.480
<v Speaker 1>bit of classical, bit of you know this, that and

689
00:40:51.559 --> 00:40:54.840
<v Speaker 1>the other, whack it all together, a bit of Enochian

690
00:40:56.360 --> 00:40:59.320
<v Speaker 1>leads me to the point. So they claim that this

691
00:40:59.480 --> 00:41:02.320
<v Speaker 1>is an unbroken thread that goes right back to before

692
00:41:02.360 --> 00:41:06.239
<v Speaker 1>the Pyramids and back to ancient Egypt and potentially before

693
00:41:06.840 --> 00:41:08.599
<v Speaker 1>that may or may not be true. It probably isn't

694
00:41:08.639 --> 00:41:12.199
<v Speaker 1>true that they have this idea that the flame of

695
00:41:12.280 --> 00:41:16.320
<v Speaker 1>occult knowledge was always kept burning in secret and it

696
00:41:16.519 --> 00:41:19.679
<v Speaker 1>flowered or bloomed or whatever you want to say. So,

697
00:41:21.280 --> 00:41:24.480
<v Speaker 1>but before the I think I'm correct in saying before

698
00:41:24.679 --> 00:41:27.840
<v Speaker 1>the Golden Down and late Victorian the previous great flowering

699
00:41:27.920 --> 00:41:33.440
<v Speaker 1>of a cult, practice and knowledge was in the Renaissance.

700
00:41:34.320 --> 00:41:40.119
<v Speaker 1>So we're talking about sixteenth century, seventeenth century stuff. So

701
00:41:41.599 --> 00:41:44.639
<v Speaker 1>let's get back to the eighteen oh one. Francis Barrett's

702
00:41:44.639 --> 00:41:48.000
<v Speaker 1>The Megas eighteen oh one, and he he punches it,

703
00:41:48.079 --> 00:41:52.800
<v Speaker 1>he punchs it all together. Using a lot of Renaissance things.

704
00:41:53.760 --> 00:41:56.559
<v Speaker 1>There were certain characters like a gripper and oh there's

705
00:41:56.599 --> 00:41:58.960
<v Speaker 1>loads of them, you know, and of course John d

706
00:41:59.199 --> 00:42:01.880
<v Speaker 1>and people like that, and so he puts it all together.

707
00:42:02.039 --> 00:42:05.559
<v Speaker 1>That's eighteen oh one. Then we have the French magas

708
00:42:05.880 --> 00:42:12.320
<v Speaker 1>Alif as Levi, who fuses in Hebrew Kabbala, Christian mysticism

709
00:42:12.400 --> 00:42:16.360
<v Speaker 1>and the Tarot. That's something that looks like philosophy. So

710
00:42:16.559 --> 00:42:19.079
<v Speaker 1>he's mid century. I haven't got his date to hand.

711
00:42:19.760 --> 00:42:21.800
<v Speaker 1>And then we have eighteen eighty eight. The Hermetic Order

712
00:42:21.840 --> 00:42:25.039
<v Speaker 1>of the Golden Dawn was offering grade initiations. If they

713
00:42:25.119 --> 00:42:29.280
<v Speaker 1>are again one of these dust bin beliefs, you know,

714
00:42:29.480 --> 00:42:31.840
<v Speaker 1>it may all be. I know. What their idea was

715
00:42:31.880 --> 00:42:34.159
<v Speaker 1>that there was a secret truth. So behind all the

716
00:42:34.199 --> 00:42:36.119
<v Speaker 1>masks there was one secret truth, and that truth was

717
00:42:36.360 --> 00:42:39.880
<v Speaker 1>the occult knowledge of and they relied heavily on as

718
00:42:39.960 --> 00:42:45.119
<v Speaker 1>their core the Kabbala, the Hebrew Kabbala really and of course, yeah,

719
00:42:45.159 --> 00:42:47.880
<v Speaker 1>I mean we've got to also in addition to the

720
00:42:48.039 --> 00:42:58.000
<v Speaker 1>Western Christian occult tradition, there is the Jewish speculation going

721
00:42:58.079 --> 00:43:03.760
<v Speaker 1>on that's isn't heretical because they don't have the same

722
00:43:03.760 --> 00:43:07.880
<v Speaker 1>structure of the church killing everybody who believes wrong. And

723
00:43:08.000 --> 00:43:10.519
<v Speaker 1>then of course there's you know, some esoteric sufism in

724
00:43:10.639 --> 00:43:15.760
<v Speaker 1>Islam as well, but there we go. Okay, so this

725
00:43:16.000 --> 00:43:19.239
<v Speaker 1>is all going on. And then, as saying the Golden Dawn,

726
00:43:19.280 --> 00:43:21.800
<v Speaker 1>you have eighteen eighty eight, then you have w eight,

727
00:43:21.920 --> 00:43:24.920
<v Speaker 1>you have McGregor Mathers, and you have Aleister Crowley of course,

728
00:43:25.480 --> 00:43:28.480
<v Speaker 1>and then we have the Theosophical Society with Madame Blavatsky,

729
00:43:28.519 --> 00:43:30.599
<v Speaker 1>and she's bringing in a lot of Eastern stuff. So

730
00:43:30.679 --> 00:43:33.360
<v Speaker 1>they were very interested in and they they kind of

731
00:43:33.840 --> 00:43:35.840
<v Speaker 1>took Christiana Murti under his wing, and he was going

732
00:43:35.920 --> 00:43:37.360
<v Speaker 1>to be I don't know if he was going to

733
00:43:37.360 --> 00:43:38.719
<v Speaker 1>be was he gonna be the new Buddha, the new

734
00:43:38.800 --> 00:43:39.920
<v Speaker 1>Christ is going to be one of those. And he

735
00:43:40.039 --> 00:43:44.440
<v Speaker 1>rejected that he didn't want to be their, their protege,

736
00:43:45.199 --> 00:43:47.320
<v Speaker 1>but they brought him from India. But you know, the

737
00:43:47.880 --> 00:43:52.360
<v Speaker 1>Theosophical Society, in addition to everything else, everybody was stuffing

738
00:43:52.440 --> 00:43:56.719
<v Speaker 1>in Egyptians and Hebrews and classical and wof it all.

739
00:43:56.800 --> 00:44:00.199
<v Speaker 1>And you know later on we've got like heathen all

740
00:44:00.360 --> 00:44:03.800
<v Speaker 1>stuff thrown in and Celtic stuff thrown in. Basically just

741
00:44:03.880 --> 00:44:06.320
<v Speaker 1>can have what you want into a soup. And then

742
00:44:06.360 --> 00:44:08.440
<v Speaker 1>the chaos magicians said, well, it doesn't really matter anyway.

743
00:44:08.480 --> 00:44:12.440
<v Speaker 1>None of it's true as such, but it all may

744
00:44:12.599 --> 00:44:18.480
<v Speaker 1>work anyway, So hang on. That was jaspernance test because

745
00:44:18.519 --> 00:44:20.880
<v Speaker 1>Sheila's just come in. So he did this, Oh like

746
00:44:21.039 --> 00:44:25.159
<v Speaker 1>an I rob you, Raggie. He's a Scooby Doo impression anyway,

747
00:44:25.199 --> 00:44:26.400
<v Speaker 1>So I just want to kind of go on and

748
00:44:26.480 --> 00:44:32.000
<v Speaker 1>say something, how James m R James fits into this?

749
00:44:34.079 --> 00:44:36.159
<v Speaker 1>Is he a member of the gold Non? No, he's

750
00:44:36.280 --> 00:44:39.239
<v Speaker 1>not not at all. But yes, he writes about things

751
00:44:39.400 --> 00:44:42.159
<v Speaker 1>like this and these occultists and stuff like that. And

752
00:44:42.239 --> 00:44:44.440
<v Speaker 1>I think casting the Runes may be actually based on

753
00:44:44.519 --> 00:44:48.079
<v Speaker 1>somebody like Alistair Crowley. But you know, when he was

754
00:44:48.280 --> 00:44:50.800
<v Speaker 1>sixteen at Eton, he'd already compiled a complete list of

755
00:44:50.880 --> 00:44:54.280
<v Speaker 1>apocryphal books belonging to both Testaments lost and extant. He

756
00:44:54.360 --> 00:44:56.880
<v Speaker 1>loved cataloging things. By the time the Golden Dome was

757
00:44:56.960 --> 00:45:00.480
<v Speaker 1>consecrating its first temple in London, he was at King's College, Cambridge,

758
00:45:00.519 --> 00:45:04.199
<v Speaker 1>catalog in medieval manuscripts and reading the Testament of Solomon

759
00:45:04.480 --> 00:45:08.280
<v Speaker 1>in Cony Beer's eighteen ninety eight Greek translation. And this

760
00:45:09.199 --> 00:45:12.599
<v Speaker 1>is parallel and predates the Grimoire tradition that McGregor Mathers.

761
00:45:13.960 --> 00:45:16.360
<v Speaker 1>McGregor Mathers came out with the Lesser Key of Solomon

762
00:45:16.400 --> 00:45:18.559
<v Speaker 1>and the Great Key of Solomon. Grimoires, they were all

763
00:45:18.599 --> 00:45:21.400
<v Speaker 1>into Grimwire. Grimwire is like a magical textbook, you know,

764
00:45:21.519 --> 00:45:25.360
<v Speaker 1>like teach yourself car repair. It's like that, but just

765
00:45:25.480 --> 00:45:31.519
<v Speaker 1>for summoning demons and probably your car repairs a healthier

766
00:45:31.599 --> 00:45:34.239
<v Speaker 1>thing to concentrate on, although you can't repair them these days.

767
00:45:34.280 --> 00:45:37.599
<v Speaker 1>The two computerized, So maybe we have to think of

768
00:45:37.679 --> 00:45:39.960
<v Speaker 1>something ice cream making, you know, you could make ice

769
00:45:40.000 --> 00:45:44.079
<v Speaker 1>cream instead anyway, So, yes, it's a parallel. What my

770
00:45:44.119 --> 00:45:46.920
<v Speaker 1>whole point about this is that I looked into it

771
00:45:46.960 --> 00:45:48.920
<v Speaker 1>because I thought, you know, was he what did he

772
00:45:49.039 --> 00:45:50.760
<v Speaker 1>hang around with him? Did he not? No, he didn't

773
00:45:50.760 --> 00:45:54.360
<v Speaker 1>do it is a completely different current than his knowledge

774
00:45:54.400 --> 00:45:56.320
<v Speaker 1>of these things did not come out of the command

775
00:45:56.320 --> 00:46:00.079
<v Speaker 1>of a fascination with your cult. It came out now

776
00:46:00.280 --> 00:46:04.480
<v Speaker 1>because he loved old manuscripts and he was a smart dude,

777
00:46:04.519 --> 00:46:05.760
<v Speaker 1>you know, and he could read them in a Hebrew

778
00:46:05.800 --> 00:46:07.800
<v Speaker 1>and read them in Greek and things like that, you know.

779
00:46:08.639 --> 00:46:13.400
<v Speaker 1>And so the Testament of Solomon, which he read, presents

780
00:46:13.480 --> 00:46:17.360
<v Speaker 1>Solomon as capturing all the demons, compelling them, and I

781
00:46:17.440 --> 00:46:20.559
<v Speaker 1>think they uses a magical ring, and he gets their

782
00:46:20.679 --> 00:46:24.360
<v Speaker 1>names in the formula that bind them. And you know,

783
00:46:25.000 --> 00:46:29.039
<v Speaker 1>it is a working demonology, complete with demonic hierarchies, physical descriptions,

784
00:46:29.079 --> 00:46:32.920
<v Speaker 1>and the incantatory means of dismissal. And he wrote about

785
00:46:32.960 --> 00:46:36.719
<v Speaker 1>it in eighteen ninety nine for the Guardian Church and newspaper.

786
00:46:36.960 --> 00:46:40.400
<v Speaker 1>Woow that went Down reviewed McCown's critical edition in the

787
00:46:40.519 --> 00:46:43.320
<v Speaker 1>Journal of Theological Studies in eighteen twenty three, so and

788
00:46:43.480 --> 00:46:47.199
<v Speaker 1>recycled its demonological furniture named spirits constrained by written and

789
00:46:47.320 --> 00:46:49.480
<v Speaker 1>ritual means the sense of a text as a physical

790
00:46:49.559 --> 00:46:53.679
<v Speaker 1>locus of demonic presence into Canon Alberick scrap book, without

791
00:46:53.679 --> 00:46:57.360
<v Speaker 1>apparently feeling any need to acknowledge the connection. He must

792
00:46:57.400 --> 00:47:00.559
<v Speaker 1>have been aware, maybe he wasn't even aware of these

793
00:47:00.920 --> 00:47:05.199
<v Speaker 1>magician dudes. McGregor Mather's a weight, all these people wandering

794
00:47:05.239 --> 00:47:10.320
<v Speaker 1>around London doing something similar, like in a practical way.

795
00:47:10.719 --> 00:47:13.960
<v Speaker 1>You know. I think they clearly thought that if they

796
00:47:14.039 --> 00:47:15.559
<v Speaker 1>did these things they could get some kind of power.

797
00:47:15.679 --> 00:47:17.400
<v Speaker 1>They were like, if you think these days, if you

798
00:47:17.480 --> 00:47:19.199
<v Speaker 1>ever go on medium, I don't know if you ever

799
00:47:19.320 --> 00:47:23.079
<v Speaker 1>do the writing scene. There's all sorts of loads of

800
00:47:23.159 --> 00:47:26.960
<v Speaker 1>articles on them how to use AI to basically make

801
00:47:27.000 --> 00:47:30.360
<v Speaker 1>yourself rich, and there's all these hacks, and everybody's got

802
00:47:30.400 --> 00:47:33.280
<v Speaker 1>a hack, and everybody's got a system, and everybody's discovered

803
00:47:33.280 --> 00:47:35.400
<v Speaker 1>a secret at two am, which is going to make

804
00:47:35.440 --> 00:47:38.119
<v Speaker 1>you and everybody kind of recycles. We're looking for power

805
00:47:38.480 --> 00:47:40.519
<v Speaker 1>and these guys are doing the same thing in late

806
00:47:40.639 --> 00:47:46.239
<v Speaker 1>Victorian terms, except they're not using AI. They're using demons.

807
00:47:47.320 --> 00:47:50.880
<v Speaker 1>If the two aren't the same thing, you should read

808
00:47:50.920 --> 00:47:53.519
<v Speaker 1>my Dark World series for that, not just a little

809
00:47:53.519 --> 00:47:56.159
<v Speaker 1>bit of plug there, Tomy Walker, Dark World's London, Dark

810
00:47:56.199 --> 00:47:58.719
<v Speaker 1>World's Paris. I think you can still buy them if

811
00:47:58.760 --> 00:48:00.800
<v Speaker 1>you'd google them. I don't know where, but there we are.

812
00:48:01.440 --> 00:48:05.440
<v Speaker 1>And I basically make that I actually have AI as

813
00:48:05.599 --> 00:48:11.639
<v Speaker 1>the great Old Ones of Lovecraft. So yes, So that

814
00:48:11.840 --> 00:48:15.159
<v Speaker 1>is all to say that this is an archivist who

815
00:48:15.360 --> 00:48:22.039
<v Speaker 1>uses old manuscripts to inform his stories. He's not an occultist.

816
00:48:22.079 --> 00:48:26.119
<v Speaker 1>He's just the That was Sheila shouting hello, hello, and

817
00:48:26.199 --> 00:48:29.679
<v Speaker 1>I interrupted, God im reconing in a in a in

818
00:48:29.760 --> 00:48:31.639
<v Speaker 1>a way that was a bit petulant, and I hope

819
00:48:31.719 --> 00:48:34.880
<v Speaker 1>not too grumpy, and I've said all I want to

820
00:48:34.880 --> 00:48:37.360
<v Speaker 1>say really about Emma. James is a fascinating guy, and

821
00:48:37.480 --> 00:48:39.719
<v Speaker 1>I was just curious about his links to the occult

822
00:48:40.480 --> 00:48:43.800
<v Speaker 1>and he and he wasn't. He was an academic rather

823
00:48:43.920 --> 00:48:48.800
<v Speaker 1>than a wizard. You're a wizard, Harry, Apparently you're a

824
00:48:49.199 --> 00:48:52.880
<v Speaker 1>wizard Monty. No, he's not anyway. So that's that's what

825
00:48:52.960 --> 00:48:56.239
<v Speaker 1>I was going to say. So just yeah, I so

826
00:48:56.320 --> 00:48:59.280
<v Speaker 1>we've what we've had is the rain, the wind. We

827
00:48:59.400 --> 00:49:02.159
<v Speaker 1>often have this grat man. We have dogs barking, we

828
00:49:02.280 --> 00:49:05.880
<v Speaker 1>have birds on Somebody said, though, do you put those

829
00:49:05.960 --> 00:49:09.679
<v Speaker 1>sound effects in of the birds on the roof? No,

830
00:49:09.960 --> 00:49:12.840
<v Speaker 1>I don't. The birds put themselves in, and the dogs

831
00:49:12.840 --> 00:49:20.599
<v Speaker 1>will run upstairs and do Scooby Doo noises, and Sheila

832
00:49:20.679 --> 00:49:23.639
<v Speaker 1>comes in and shouts up to me, Hello, Hello, do

833
00:49:23.679 --> 00:49:26.559
<v Speaker 1>you want that soup? And so the point about this

834
00:49:26.719 --> 00:49:28.920
<v Speaker 1>is should I get a studio? But if I had

835
00:49:28.920 --> 00:49:31.800
<v Speaker 1>a studio, who would look after the dogs? Because I'm

836
00:49:31.840 --> 00:49:33.559
<v Speaker 1>able to work from home and combine with that and

837
00:49:33.639 --> 00:49:36.039
<v Speaker 1>so I can walk out the dogs when it stops renin.

838
00:49:36.039 --> 00:49:37.760
<v Speaker 1>It stopped renning, now probably going to take them out.

839
00:49:38.039 --> 00:49:41.599
<v Speaker 1>They don't like the wren and you know, so a

840
00:49:41.679 --> 00:49:46.079
<v Speaker 1>studio probably ain't gonna work. I quite fancy the idea

841
00:49:46.159 --> 00:49:50.719
<v Speaker 1>of it. Oh yeah, I'm going to my studio, darling. Yes, love,

842
00:49:51.239 --> 00:49:53.960
<v Speaker 1>I have my studio. Yes, I hire it. It's all soundproofed,

843
00:49:54.039 --> 00:49:57.760
<v Speaker 1>I have wonderful microphone's most amazing. You'll get nicked, basically,

844
00:49:57.800 --> 00:50:01.480
<v Speaker 1>somebody break in and steal everything and sell it down

845
00:50:01.519 --> 00:50:04.320
<v Speaker 1>the pub for a bag of brand. I don't think

846
00:50:04.360 --> 00:50:07.360
<v Speaker 1>they do. They call it that these days, anyway, I'm

847
00:50:07.400 --> 00:50:08.840
<v Speaker 1>not sure. I think it's all I don't know what

848
00:50:08.960 --> 00:50:13.000
<v Speaker 1>the bashes it or beak. I'm not really unfair with

849
00:50:13.320 --> 00:50:15.360
<v Speaker 1>the current drugs world, not like when I worked in

850
00:50:15.559 --> 00:50:19.199
<v Speaker 1>mental health because like most of my patients were involved

851
00:50:19.239 --> 00:50:21.199
<v Speaker 1>in that, so I used to pick up stuff useful

852
00:50:21.239 --> 00:50:23.280
<v Speaker 1>information about the drug world. But I'm away from that

853
00:50:23.400 --> 00:50:25.599
<v Speaker 1>now anyway, So I probably not going to get a studio.

854
00:50:25.599 --> 00:50:26.760
<v Speaker 1>And that means you just kind of have to put

855
00:50:26.840 --> 00:50:30.280
<v Speaker 1>up with the noises. I think most of you don't

856
00:50:30.280 --> 00:50:32.480
<v Speaker 1>mind that, and I think the people who do mind

857
00:50:32.480 --> 00:50:35.119
<v Speaker 1>it will self select a way to something else. Go

858
00:50:35.159 --> 00:50:38.280
<v Speaker 1>and listen to a nice ah Ai channel, and remember

859
00:50:38.440 --> 00:50:55.000
<v Speaker 1>it's a demon. Everybody dies, doesn't that? So you tried

860
00:50:55.039 --> 00:50:57.239
<v Speaker 1>to get into the long drum today, didn't you you?

861
00:50:57.800 --> 00:51:01.000
<v Speaker 1>How do they come back? Didn't you? What's the secrets

862
00:51:01.039 --> 00:51:01.280
<v Speaker 1>of like
