I do not think any additional force is gained in the course of this unique story by the importation of malignant irreverence to Christianity in the latter manifestations of the ape. I think the apparition is at its best and most terrible when it is simply an indifferent pagan, before it assumes the rôle of antichrist. This ape is at his best as a mind-destroyer when the clergyman, going down the avenue in the twilight, raised his eyes and finds the awful presence preceding him along the top of the wall. There the clergyman reaches the acme of piteous, unsupportable horror. In the pulpit with the brute, the priest is fighting against the devil. In the avenue he has not the strengthening or consoling reflection that he is defending a cause, struggling against hell. The instant motive enters into the story the situation ceases to be dramatic and becomes merely theatrical. Every “converted” tinker will tell you stirring stories of his wrestling with Satan, forgetting that it takes two to fight, and what a loathsome creature he himself is. But the conflict between a good man and the unnecessary apparition of this ape is pathetic, horribly pathetic, and full of the dramatic despair of the finest tragedy.

It is desirable at this point to focus some scattered words that have been set down above. The reason this apparition of the ape appears probable is because it is unnecessary. Any one can understand why Macbeth should see that awful vision at the banquet. The apparition of the murdered dead is little more than was to be expected, and can be explained in an easy fashion. You or I never committed murder, therefore we are not liable to be troubled by the ghost of Banquo. In your life or mine Nemesis is not likely to take heroic dimensions. The spectres of books, as a rule, only excite our imaginative fears, not our personal terrors. The spectres of books have and can have nothing to do with us any more than the sufferings of the Israelites in the desert. When a person of our acquaintance dies, we inquire the particulars of his disease, and then discover the predisposing causes, so that we may prove to ourselves we are not in the same category with him. We do not deny our liability to contract the disease, we deny our likelihood to supply the predisposing causes. He died of aneurysm of the aorta: Ah, we say, induced by the violent exercise he took – we never take violent exercise. If not of aneurysm of the aorta, but fatty degeneration of the heart: Ah, induced by the sedentary habits of his latter years – we take care to secure plenty of exercise. If a man has been careful of his health and dies, we allege that he took all the robustness out of his constitution by over-heedfulness; if he has been careless, we say he took no precautions at all; and from either of these extremes we are exempt, and therefore we shall live for ever.

Now here in this story of Green Tea is a ghost which is possible, probable, almost familiar. It is a ghost without genesis or justification. The gods have nothing to do with it. Something, an accident due partly to excessive tea-drinking, has happened to the clergyman’s nerves, and the ghost of this ape glides into his life and sits down and abides with him. There is no reason why the ghost should be an ape. When the victim sees the apparition first he does not know it to be an ape. He is coming home in an omnibus one night and descries two gleaming spots of fire in the dark, and from that moment the life of the poor gentleman becomes a ruin. It is a thing that may happen to you or me any day, any hour. That is why Le Fanu’s ghost is so horrible. You and I might drink green tea to the end of our days and suffer from nothing more than ordinary impaired digestion. But you or I may get a fall, or a sunstroke, and ever afterwards have some hideous familiar. To say there can be no such things as ghosts is a paltry blasphemy. It is a theory of the smug, comfortable kind. A ghost need not wear a white sheet and have intelligible designs on personal property. A ghost need not be the spirit of a dead person. A ghost need have no moral mission whatever.

I once met a haunted man, a man who had seen a real ghost; a ghost that had, as the ape, no ascertainable moral mission but to drive his victim mad. In this case too the victim was a clergyman. He is, I believe, alive and well now. He has shaken off the incubus and walks a free man. I was travelling at the time, and accidentally got into chat with him on the deck of a steamboat by night. We were quite alone in the darkness and far from land when he told me his extraordinary story. I do not of course intend retailing it here. I look on it as a private communication. I asked him what brought him to the mental plight in which he had found himself, and he answered briefly, “Overwork.” He was then convalescent, and had been assured by his physicians that with care the ghost which had been laid would appear no more. The spectre he saw threatened physical harm, and while he was haunted by it he went in constant dread of death by violence. It had nothing good or bad to do with his ordinary life or his sacred calling. It had no foundation on fact, no basis on justice. He had been for months pursued by the figure of a man threatening to take away his life. He did not believe this man had any corporeal existence. He did not know whether the creature had the power to kill him or not. The figure was there in the attitude of menace and would not be banished. He knew that no one but himself could see the murderous being. That ghost was there for him, and there for him alone.

Respecting the Canadian nuns whose convent was beleaguered and infested by ghostly enemies that came not by ones or twos but in battalions, I had a fancy at the time. I do not intend using the terminologies or theories of the dissecting room, or the language of physiology found in books. I am not sure the fancy is wholly my own, but some of it is original. I shall suppose that the nerves are not only capable of various conditions of health and disease, but of large structural alteration in life; structural alteration not yet recorded or observed in fact; structural alteration which, if you will, exists in life but disappears instantly at death. In fine, I mean rather to illustrate my fancy than to describe anything that exists or could exist. Before letting go the last strand of sense, let me say that talking of nerves being highly strung is sheer nonsense, and not good nonsense either. The muscles it is that are highly strung. The poor nerves are merely insulated wires from the battery in the head. Their tension is no more affected by the messages that go over them, than an Atlantic cable is tightened or loosened by the signals indicating fluctuations in the Stock Exchanges of London and New York.

The nerves, let us suppose, in their normal condition of health have three skins over the absolute sentient tissue. In the ideal man in perfect health, let us say Hodge, the man whose privilege it is to “draw nutrition, propagate, and rot,” the three skins are always at their thickest and toughest. Now genius is a disease, and it falls, as ladies of Mrs. Gamp’s degree say, “on the nerves.” That is, the first of these skins having been worn away or never supplied by nature, the patient “sees visions and dreams dreams.” The man of genius is not exactly under delusions. He does not think he is in China because he is writing of Canton in London, but his optic nerve, wanting the outer coating, can build up images out of statistics until the images are as full of line and colour and as incapable of change at will as the image of a barrel of cider which occupies Hodge’s retina when it is imminent to his desires, present to his touch. The sensibility of the nerves of genius is greater than the sensibility of the nerves of Hodge. Not all the eloquence of an unabridged dictionary could create an image in Hodge’s mind of a thing he had never seen. From a brief description a painter of genius could make a picture – not a likeness of course – of Canton, although he had never been outside the four corners of these kingdoms. The painting would not, in all likelihood, be in the least like Canton, but it would be very like the image formed in the painter’s mind of that city. In the painter such an image comes and goes at will. He can either see it or not see it as he pleases. It is the result of the brain reacting on the nerve. It relies on data and combination. It is his slave, not his master. Before it can be formed there must be great increase of sensibility. Hodge is crude silver, the painter is the polished mirror. The painter can see things which are not, things which he himself makes in his mind. His invention is at least as vivid as his memory.

I suppose then that the man of genius, the painter or poet, is one who, having lost the first skin, or portion of the first skin of his nerves, can create and see in his mind’s eye things never seen by the eye of any other man, and see them as vividly as men of no genius can see objects of memory.

Now peel off the second skin. The more exquisitely sensitive or the innermost skin of the nerve is exposed. Things which the eye of genius could not invent or even dream of are revealed. A drop of putrid water under the microscope becomes a lake full of terrifying monsters large enough to destroy man. Heard through the microphone the sap ascending a tree becomes loud as a torrent. Seen through a telescope nebulous spots in the sky become clusters of constellations. Divested of its second skin the nerve becomes sensitive to influences too rare and fine for the perception of the optic nerve in a more protected state. Beings that bear no relation whatever to weight or the law of impenetrability, float about and flash hither and thither swifter than lightning. The air and other ponderable matter are nothing to them. They are no more than the shadows or reflections of action, the imperishable progeny of thought. Here lies disclosed to the partly emancipated nerve the Canton of the painter’s vision. Here the city he made to himself is as firm and sturdy and solid and full of life as the Canton of this day on the southern coast of China. Here throng the unrecorded visions of all the poets. Here are the counterfeits of all the dead in all their phases. Here float the dreams of men, the unbroken scrolls of life and action and thought complete of all beings, man and beast, that have lived since time began. In the world of matter nothing is lost; in the world of spirit nothing is lost either.

If instead of taking the whole of this imaginary skin off the optic nerve, we simply injure it ever so slightly, the nerve may become alive to some of these spirits; and this premature perception of what is around all of us, but perceived by few, we call seeing ghosts. It may be objected that all space is not vast enough to afford room for such a stupendous panorama. When we begin to talk of limits of space to anything beyond our knowledge and the touch of our inch-tape, we talk like fools. There is no good in allotting space with a two-foot rule. It is all the same whether we divide zero into infinity or infinity into zero. The answer is the same; “I don’t know how many times it goes.” Take a cubic inch of air outside your window and see the things packed into it. Here interblent we find all together resistance and light and sound and odour and flavour. We must stop there, for we have got to the end, not of what is packed into that cubic inch of air, but to the end of the things in it revealed to our senses. If we had five more senses we should find five more qualities; if we had five thousand senses, five thousand qualities. But even if we had only our own senses in higher form we should see ghosts.

If the third skin were removed from the optic nerve all things we now call opaque would become transparent, owing to the naked nerve being sensitive to the latent light in every body. The whole round world would become a crystal ball, the different degrees of what we now call opacity being indicated merely by a faint chromatic modification. What we now regard as brilliant sunlight would then be dense shadow. Apocalyptic ranges of colour would be disclosed, beginning with what is in our present condition the least faint trace of tint and ascending through a thousand grades to white, white brighter far than the sun our present eyes blink upon. Burnished brass flaming in our present sun would then be the beginning of the chromatic scale descending in the shadow of yellow, burnished copper of red, burnished tin of black, burnished steel of blue. So intense then would the sensibility of the optic nerve become that the satellites attendant on the planets in the system of the suns, called fixed stars, would blaze brighter than our own moon reflected in the sea. To the eye matter would cease to be matter in its present, gross obstructive sense. It would be no more than a delicate transparent pigment in the wash of a water-colour artist. The gross rotundity of the earth would be, in the field of the human eye, a variegated transparent globe of reduced luminousness and enormous scales and chords of colour. The Milky Way would then be a concave measureless ocean of prismatic light with pendulous opaline spheres.

The figures of dreams and ghosts may be as real as we are pleased to consider ourselves. What arrogance of us to say they are our own creation! They may look upon themselves as superior to us, as we look upon ourselves as superior to the jelly-fish. No doubt we are to ghosts the baser order, the spirits stained with the woad of earth, low creatures who give much heed to heat and cold, and food and motion. They are the sky-children, the chosen people. They are nothing but circumscribed will wedded to incorporeal reasons of the nobler kind, and with scopes the contemplation of which would split our tenement of clay. They are the arch-angelic hierarchs of man, the ultimate condition of the race, the spirit of this planet distilled by the sun.