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"Oh, there is one, of course, but you'll never know it."
The assertion, laughingly flung out six months earlier in a bright June garden, came back to Mary Boyne with a sharp perception of its latent significance as she stood, in the December dusk, waiting for the lamps to be brought into the library.
The words had been spoken by their friend Alida Stair, as they sat at tea on her lawn at Pangbourne, in reference to the very house of which the library in question was the central, the pivotal "feature." Mary Boyne and her husband, in quest of a country place in one of the southern or southwestern counties, had, on their arrival in England, carried their problem straight to Alida Stair, who had successfully solved it in her own case; but it was not until they had rejected, almost capriciously, several practical and judicious suggestions that she threw it out: "Well, there's Lyng, in Dorsetshire. It belongs to Hugo's cousins, and you can get it for a song."
The reasons she gave for its being obtainable on these terms—its remoteness from a station, its lack of electric light, hot-water pipes, and other vulgar necessities—were exactly those pleading in its favor with two romantic Americans perversely in search of the economic drawbacks which were associated, in their tradition, with unusual architectural felicities.
"I should never believe I was living in an old house unless I was thoroughly uncomfortable," Ned Boyne, the more extravagant of the two, had jocosely insisted; "the least hint of 'convenience' would make me think it had been bought out of an exhibition, with the pieces numbered, and set up again." And they had proceeded to enumerate, with humorous precision, their various suspicions and exactions, refusing to believe that the house their cousin recommended was really Tudor till they learned it had no heating system, or that the village church was literally in the grounds till she assured them of the deplorable uncertainty of the water-supply.
"It's too uncomfortable to be true!" Edward Boyne had continued to exult as the avowal of each disadvantage was successively wrung from her; but he had cut short his rhapsody to ask, with a sudden relapse to distrust: "And the ghost? You've been concealing from us the fact that there is no ghost!"
Mary, at the moment, had laughed with him, yet almost with her laugh, being possessed of several sets of independent perceptions, had noted a sudden flatness of tone in Alida's answering hilarity.
"Oh, Dorsetshire's full of ghosts, you know."
"Yes, yes; but that won't do. I don't want to have to drive ten miles to see somebody else's ghost. I want one of my own on the premises. Is there a ghost at Lyng?"
His rejoinder had made Alida laugh again, and it was then that she had flung back tantalizingly: "Oh, there is one, of course, but you'll never know it."
"Never know it?" Boyne pulled her up. "But what in the world constitutes a ghost except the fact of its being known for one?"
"I can't say. But that's the story."
"That there's a ghost, but that nobody knows it's a ghost?"
"Well—not till afterward, at any rate."
"Till afterward?"
"Not till long, long afterward."
"But if it's once been identified as an unearthly visitant, why hasn't its signalement been handed down in the family? How has it managed to preserve its incognito?"
Alida could only shake her head. "Don't ask me. But it has."
"And then suddenly—" Mary spoke up as if from some cavernous depth of divination—"suddenly, long afterward, one says to one's self, 'That was it?'"
She was oddly startled at the sepulchral sound with which her question fell on the banter of the other two, and she saw the shadow of the same surprise flit across Alida's clear pupils. "I suppose so. One just has to wait."
"Oh, hang waiting!" Ned broke in. "Life's too short for a ghost who can only be enjoyed in retrospect. Can't we do better than that, Mary?"
But it turned out that in the event they were not destined to, for within three months of their conversation with Mrs. Stair they were established at Lyng, and the life they had yearned for to the point of planning it out in all its daily details had actually begun for them.
It was to sit, in the thick December dusk, by just such a wide-hooded fireplace, under just such black oak rafters, with the sense that beyond the mullioned panes the downs were darkening to a deeper solitude: it was for the ultimate indulgence in such sensations that Mary Boyne had endured for nearly fourteen years the soul-deadening ugliness of the Middle West, and that Boyne had ground on doggedly at his engineering till, with a suddenness that still made her blink, the prodigious windfall of the Blue Star Mine had put them at a stroke in possession of life and the leisure to taste it. They had never for a moment meant their new state to be one of idleness; but they meant to give themselves only to harmonious activities. She had her vision of painting and gardening (against a background of gray walls), he dreamed of the production of his long-planned book on the "Economic Basis of Culture"; and with such absorbing work ahead no existence could be too sequestered; they could not get far enough from the world, or plunge deep enough into the past.
Dorsetshire had attracted them from the first by a semblance of remoteness out of all proportion to its geographical position. But to the Boynes it was one of the ever-recurring wonders of the whole incredibly compressed island—a nest of counties, as they put it—that for the production of its effects so little of a given quality went so far: that so few miles made a distance, and so short a distance a difference.
"It's that," Ned had once enthusiastically explained, "that gives such depth to their effects, such relief to their least contrasts. They've been able to lay the butter so thick on every exquisite mouthful."
The butter had certainly been laid on thick at Lyng: the old gray house, hidden under a shoulder of the downs, had almost all the finer marks of commerce with a protracted past. The mere fact that it was neither large nor exceptional made it, to the Boynes, abound the more richly in its special sense—the sense of having been for centuries a deep, dim reservoir of life. The life had probably not been of the most vivid order: for long periods, no doubt, it had fallen as noiselessly into the past as the quiet drizzle of autumn fell, hour after hour, into the green fish-pond between the yews; but these back-waters of existence sometimes breed, in their sluggish depths, strange acuities of emotion, and Mary Boyne had felt from the first the occasional brush of an intenser memory.
The feeling had never been stronger than on the December afternoon when, waiting in the library for the belated lamps, she rose from her seat and stood among the shadows of the hearth. Her husband had gone off, after luncheon, for one of his long tramps on the downs. She had noticed of late that he preferred to be unaccompanied on these occasions; and, in the tried security of their personal relations, had been driven to conclude that his book was bothering him, and that he needed the afternoons to turn over in solitude the problems left from the morning's work. Certainly the book was not going as smoothly as she had imagined it would, and the lines of perplexity between his eyes had never been there in his engineering days. Then he had often looked fagged to the verge of illness, but the native demon of "worry" had never branded his brow. Yet the few pages he had so far read to her—the introduction, and a synopsis of the opening chapter—gave evidences of a firm possession of his subject, and a deepening confidence in his powers.
The fact threw her into deeper perplexity, since, now that he had done with "business" and its disturbing contingencies, the one other possible element of anxiety was eliminated. Unless it were his health, then? But physically he had gained since they had come to Dorsetshire, grown robuster, ruddier, and fresher-eyed. It was only within a week that she had felt in him the undefinable change that made her restless in his absence, and as tongue-tied in his presence as though it were she who had a secret to keep from him!
The thought that there was a secret somewhere between them struck her with a sudden smart rap of wonder, and she looked about her down the dim, long room.
"Can it be the house?" she mused.
The room itself might have been full of secrets. They seemed to be piling themselves up, as evening fell, like the layers and layers of velvet shadow dropping from the low ceiling, the dusky walls of books, the smoke-blurred sculpture of the hooded hearth.
"Why, of course—the house is haunted!" she reflected.
The ghost—Alida's imperceptible ghost—after figuring largely in the banter of their first month or two at Lyng, had been gradually discarded as too ineffectual for imaginative use. Mary had, indeed, as became the tenant of a haunted house, made the customary inquiries among her few rural neighbors, but, beyond a vague, "They du say so, Ma'am," the villagers had nothing to impart. The elusive specter had apparently never had sufficient identity for a legend to crystallize about it, and after a time the Boynes had laughingly set the matter down to their profit-and-loss account, agreeing that Lyng was one of the few houses good enough in itself to dispense with supernatural enhancements.
"And I suppose, poor, ineffectual demon, that's why it beats its beautiful wings in vain in the void," Mary had laughingly concluded.
"Or, rather," Ned answered, in the same strain, "why, amid so much that's ghostly, it can never affirm its separate existence as the ghost." And thereupon their invisible housemate had finally dropped out of their references, which were numerous enough to make them promptly unaware of the loss.
Now, as she stood on the hearth, the subject of their earlier curiosity revived in her with a new sense of its meaning—a sense gradually acquired through close daily contact with the scene of the lurking mystery. It was the house itself, of course, that possessed the ghost-seeing faculty, that communed visually but secretly with its own past; and if one could only get into close enough communion with the house, one might surprise its secret, and acquire the ghost-sight on one's own account. Perhaps, in his long solitary hours in this very room, where she never trespassed till the afternoon, her husband had acquired it already, and was silently carrying the dread weight of whatever it had revealed to him. Mary was too well-versed in the code of the spectral world not to know that one could not talk about the ghosts one saw: to do so was almost as great a breach of good-breeding as to name a lady in a club. But this explanation did not really satisfy her. "What, after all, except for the fun of the frisson," she reflected, "would he really care for any of their old ghosts?" And thence she was thrown back once more on the fundamental dilemma: the fact that one's greater or less susceptibility to spectral influences had no particular bearing on the case, since, when one did see a ghost at Lyng, one did not know it.
"Not till long afterward," Alida Stair had said. Well, supposing Ned had seen one when they first came, and had known only within the last week what had happened to him? More and more under the spell of the hour, she threw back her searching thoughts to the early days of their tenancy, but at first only to recall a gay confusion of unpacking, settling, arranging of books, and calling to each other from remote corners of the house as treasure after treasure of their habitation revealed itself to them. It was in this particular connection that she presently recalled a certain soft afternoon of the previous October, when, passing from the first rapturous flurry of exploration to a detailed inspection of the old house, she had pressed (like a novel heroine) a panel that opened at her touch, on a narrow flight of stairs leading to an unsuspected flat ledge of the roof—the roof which, from below, seemed to slope away on all sides too abruptly for any but practised feet to scale.
The view from this hidden coign was enchanting, and she had flown down to snatch Ned from his papers and give him the freedom of her discovery. She remembered still how, standing on the narrow ledge, he had passed his arm about her while their gaze flew to the long, tossed horizon-line of the downs, and then dropped contentedly back to trace the arabesque of yew hedges about the fish-pond, and the shadow of the cedar on the lawn.
"And now the other way," he had said, gently turning her about within his arm; and closely pressed to him, she had absorbed, like some long, satisfying draft, the picture of the gray-walled court, the squat lions on the gates, and the lime-avenue reaching up to the highroad under the downs.
It was just then, while they gazed and held each other, that she had felt his arm relax, and heard a sharp "Hullo!" that made her turn to glance at him.
Distinctly, yes, she now recalled she had seen, as she glanced, a shadow of anxiety, of perplexity, rather, fall across his face; and, following his eyes, had beheld the figure of a man—a man in loose, grayish clothes, as it appeared to her—who was sauntering down the lime-avenue to the court with the tentative gait of a stranger seeking his way. Her short-sighted eyes had given her but a blurred impression of slightness and grayness, with something foreign, or at least unlocal, in the cut of the figure or its garb; but her husband had apparently seen more—seen enough to make him push past her with a sharp "Wait!" and dash down the twisting stairs without pausing to give her a hand for the descent.
A slight tendency to dizziness obliged her, after a provisional clutch at the chimney against which they had been leaning, to follow him down more cautiously; and when she had reached the attic landing she paused again for a less definite reason, leaning over the oak banister to strain her eyes through the silence of the brown, sun-flecked depths below. She lingered there till, somewhere in those depths, she heard the closing of a door; then, mechanically impelled, she went down the shallow flights of steps till she reached the lower hall.
The front door stood open on the mild sunlight of the court, and hall and court were empty. The library door was open, too, and after listening in vain for any sound of voices within, she quickly crossed the threshold, and found her husband alone, vaguely fingering the papers on his desk.
He looked up, as if surprised at her precipitate entrance, but the shadow of anxiety had passed from his face, leaving it even, as she fancied, a little brighter and clearer than usual.
"What was it? Who was it?" she asked.
"Who?" he repeated, with the surprise still all on his side.
"The man we saw coming toward the house." Boyne shrugged his shoulders. "So I thought; but he must have got up steam in the interval. What do you say to our trying a scramble up Meldon Steep before sunset?"
That was all. At the time the occurrence had been less than nothing, had, indeed, been immediately obliterated by the magic of their first vision from Meldon Steep, a height which they had dreamed of climbing ever since they had first seen its bare spine heaving itself above the low roof of Lyng. Doubtless it was the mere fact of the other incident's having occurred on the very day of their ascent to Meldon that had kept it stored away in the unconscious fold of association from which it now emerged; for in itself it had no mark of the portentous. At the moment there could have been nothing more natural than that Ned should dash himself from the roof in the pursuit of dilatory tradesmen. It was the period when they were always on the watch for one or the other of the specialists employed about the place; always lying in wait for them, and dashing out at them with questions, reproaches, or reminders. And certainly in the distance the gray figure had looked like Peters.
Yet now, as she reviewed the rapid scene, she felt her husband's explanation of it to have been invalidated by the look of anxiety on his face. Why had the familiar appearance of Peters made him anxious? Why, above all, if it was of such prime necessity to confer with that authority on the subject of the stable-drains, had the failure to find him produced such a look of relief? Mary could not say that any one of these considerations had occurred to her at the time, yet, from the promptness with which they now marshaled themselves at her summons, she had a sudden sense that they must all along have been there, waiting their hour.
Because Mary's vision is poor, she can't quite identify the person who is approaching their home. His obscured identity—and her husband's dramatic reaction to the figure—suggest that his identity will eventually be revealed.
— Kim, Owl Eyes Staff
The noun "frisson" describes a sudden feeling of excitement or thrill. Here, Mary uses it to describe the only reason she perceives her husband would want to see a ghost—for the thrill.
Here Wharton introduces a theme of society and class relating to associated expectations and rules of appropriateness. This theme is rendered in a comical fashion here, as Mary is described as "well-versed in the code of the spectral world." Comparing speaking of a ghost to naming of a "lady in a club" associates an otherworldly phenomenon with a social faux pas. Consequently, the association of a supernatural force with something so mundane as the politeness of social class produces a rather farcical effect.
"Ineffectual" here means not producing the desired effect—assumedly the terror and mystery associated with a ghostly "haunting." The ghost continues to be rendered as a commodity, which is soon disregarded by the Boynes when it fails to provide requisite entertainment or "usefulness."
This demonstrates the Boynes' version of "luxury" by using vivid, evocative imagery. Here, the Boynes' not only conceptualize the history and aesthetic of their house as a commodity to own but also as a good to consume. This notion is further emphasized by the following line: "The butter had certainly been laid on thick at Lyng." This metaphor deepens the contention that the Boynes' desire is more closely connected to the "idea" of the quintessential country house rather than to the real estate itself.
Mullions are divisions between a window or door and are used for architectural support and for decoration. They are common in older architecture. The "downs" here refers to the South Downs, a range of chalk hills that extends across the southeastern coastal counties of England. The Boynes enjoy sitting in their new house next to the fireplace while the sun sets and night falls across the downs.
A "sepulchre" is a tomb in which someone is buried. So, traditionally something "sepulchral" is related to a tomb or burial. However, over time the word "sepulchral" has become less tied to this literal definition and can also merely mean something gloomy or somber. In this context, Wharton has created a play on words, as both meanings can be invoked. Mary's tone is undeniably somber, but she is also speaking of a ghost, something associated with death and the supernatural.
This sentence has a number of phrases that may prove confusing at first glance: the phrase "unearthly visitant" refers to the ghost; signalement is a French term that in this context would most accurately translate to "description"; the adjective "incognito" describes a person who has their identity concealed. Mary Boyne wonders why, once someone learns of what the ghost looks like, they haven't passed this knowledge down to others in the family. Mary is surprised that the ghost is able to remain a complete mystery, even after numerous people have seen it.
The repetition of this refrain creates an ominous, foreboding tone, as readers and characters alike are kept in the dark as to the true nature of the ghost. The line is also deliberately confusing, because it seems impossible to "know" something only long after seeing it. This confusion increases the tension of the plot, as readers long to unravel the mystery.
The phrasing of this line further emphasizes that the Boynes see history and tradition as a commodity to be purchased and owned. It is interesting to note that Ned Boyne is most interested in the ghost, possibly foreshadowing future events.
The Boynes are not content with an imitation of the old English manor style they seek. Rather, they want to purchase not only the house and surrounding land but also its accompanying history (which they see as guaranteed by a lack of modern conveniences). If the Boynes intend to purchase a house based on its history, then their primary concern is to make sure this history is authentic.
The Boynes are not only willing to tolerate issues like lack of electricity and hot-water but also see these problems as part of the "charm" of older English architecture. The irony of this is further emphasized by the following line, in which Ned Boyne professes he needs to feel "uncomfortable" in order to believe he is living in an old house. The Boynes' desire to purchase an old English country house is a marker of "New World" America's fascination with "Old World" England's associated traditions and histories.
Dorsetshire is the archaic term for Dorset, a county in South West England on the English Channel coast. Lyng is the name given to the house. The colloquial idiom "You can get it for a song" means that something can be purchased very cheaply. Discerning readers will pause here to wonder why exactly this house is so inexpensive, as perhaps there is more to this house than meets the eye.
The adverb "capriciously" describes actions that are impulsive or unpredictable. The word is modified here with "almost," suggesting that when the Boynes rejected "judicious," or wise suggestions, for housing, they did so with such haste that it seemed almost as if they had forgone good sense or judgment. This description suggests that the Boynes are willing to forgo "practical" options in order to realize their romantic notion of a traditional English country manor, with all its old-fashioned trimmings.
Pangbourne is a large village on the river Thames in England, United Kingdom. Here, Alida Stair's house is named Pangbourne, presumably after its location.
By beginning the narrative in the middle of a sentence, Wharton immediately plunges readers into the thick of the action. As we are unaware what is meant by the "one," of which is referred, we are drawn in by mystery and the desire to know more. Wharton's choice to begin the story this way immediately creates a tone of mystery and intrigue.