Essential Science Fiction Novels - Volume 7. Karel Čapek

describes a strange orchid that has the uncanny habit of stinging or biting when it is broken or roughly handled, sending forth a poison that first makes a man deaf then kills him. Fu-Manchu introduces this flower into the sleeping-rooms of those he wishes to put out of the way, and sends them into eternal silence. The Flowering of the Strange Orchid, by H. G. Wells, is the story of a murderous plant, a vampire that kills men in the jungle, and in a greenhouse in England sends out its tentacles that grip the botanist, drinking his blood and seeking to slay him. This orchid has the power to project its vampiric attacks when it is a shriveled bulb or in the flower. This reminds us of Algernon Blackwood’s story of the vampire soil, which after its psychic orgy burst into loathsome luxuriant bloom where before it had been barren.

      It is a curious heightening of supernatural effect to give to beautiful flowers diabolical cunning and murderous motives, to endow them with human psychology and devilish designs. The magic associated with botany is usually black instead of white. One wonders if transmigration of soul does not enter subconsciously into these plots, and if a vampire orchid is not a trailing off of a human soul, the murderous blossom a revenge ghost expressing himself in that way. The plots in this type of fiction are wrought with much imagination and the scientific exactness combined with the supernatural gives a peculiar effect of reality.

      There are varied forms of supernatural science that do not come under any of the heads discussed. The applications of research to weird fiction are as diverse as the phases of investigation and only a few may be mentioned to suggest the variety of themes employed. Inversion of natural laws furnishes plots,—as in Frank R. Stockton’s Tale of Negative Gravity with its discovery of a substance that enables a man to save himself all fatigue by means of a something that inverts the law of gravity. With a little package in his pocket a man can climb mountains without effort, but the discoverer miscalculates the amount of energy required to move and finally rises instead of staying on the earth, till his wife has to fish him into the second-story window. Poe’s Loss of Breath illustrates another infringement of a natural law, as do several stories where a human being loses his shadow.

      In The Diamond Lens, Fitz-James O’Brien tells of a man who looking at a drop of water through a giant microscope sees in the drop a lovely woman with whom he falls madly in love, only to watch her fade away under the lens as his despairing eyes see the water evaporate. Supernatural acoustics enters in the story of a man who discovers the sound-center in an opera house and reads the unspoken thoughts of those around him. He applies the laws of acoustics to mentality and spirituality, making astounding discoveries. Bram Stoker combines superstition with modern science in his books, as where Oriental magic is used to fight the encroachments of an evil force emanating from a mummy, as also to bring the mummy to life, while a respirator is employed to keep away the subtle odor. He brings in blood transfusion together with superstitious symbols, to combat the ravages of vampires. Blood transfusion also enters into supernaturalism in Stephen French Whitney’s story, where a woman who has been buried in a glacier for two thousand years is recalled to life.

      The Human Chord, by Algernon Blackwood, is a novel based on the psychic values of sounds, which claims that sounds are all powerful, are everything,—for forms, shapes, bodies are but vibratory activities of sound made visible. The research worker here believes that he who has the power to call a thing by its proper name is master of that thing, or of that person, and that to be able to call the name of Deity would be to enable one to become as God. He seeks to bring together a human chord, four persons in harmony as to voice and soul, who can pronounce the awful name and become divine with him. He can change the form or the nature of anything by calling its name, as a woman is deformed by mispronunciation, and the walls of a room expanded by his voice. He can make of himself a dwarf or a giant at will, by different methods of speaking his own name. He says that sound could re-create or destroy the universe. He has captured sounds that strain at their leashes in his secret rooms, gigantic, wonderful. But in the effort to call upon the mighty Name he mispronounces it, bringing a terrible convulsion of nature which destroys him. The beholders see an awful fire in which Letters escape back to heaven in chariots of flame.

      Psychology furnishes some interesting contributions to recent fiction along the line of what might be called momentary or instantaneous plots. Ambrose Bierce’s The Occurrence at Owl Creek Bridge is a good example,—where a man is being hanged and in the instant between the drop from the bridge and the breaking of the neck he lives through long and dramatic adventures, escaping his pursuers by falling into the river and swimming ashore, reaching home at last to greet his wife and children. Yet in a second his lifeless body swings from the bridge. The Warning, by Josephine Daskam Bacon, shows the case of a man who lives years in another country during a few moments of acute mental strain carried to the point of paranoia. Barry Pain has a story where in the time in which a man drives home from the theater he visits another planet and changes the current of his life, while Algernon Blackwood compresses a great experience into a few minutes of dreaming.

      One noteworthy point in connection with the scientific supernaturalism is that these themes appear only in novels and short stories. They do not cross over into poetry as do most of the other forms of the ghostly art. Perhaps this is because the situations are intellectual rather than emotional, brain-problems or studies in mechanisms rather than in feelings or emotions. The province of science is removed from that of poetry because the methods and purposes are altogether different. The scientific methods are clear-cut, coldly intellectual. Science demands an exactness, a meticulous accuracy hostile to poetry which requires suggestion, vagueness, veiled mystery for its greatest effect. The Flower of Silence, for instance, would be a fitting title for a poem, but the poetic effect would be destroyed by the need for stating the genus and species of the orchid and analyzing its destruction of human tissue. Nature’s mysterious forces and elements in general and vaguely considered, veiled in mists of imagination and with a sense of vastness and beauty, are extremely poetic. But the notebook and laboratory methods of pure science are antagonistic to poetry, though they fit admirably into the requirements of fiction, whose purpose is to give an impression of actuality.

      Another reason why these scientific themes do not pass over into poetry may be that scientific methods as we know them are new, and poetry clings to the old and established conventions and emotions. There is amazing human interest in these experiments, a veritable wealth of romance, with dramatic possibilities tragic and comic, yet they are more suited to prose fiction than to poetry. We have adapted our brain-cells to their concepts in prose, yet we have not thus molded our poetic ideas. It gives us a shock to have new concepts introduced into poetry. An instance of this clash of realism with sentiment is shown in a recent poem where the setting is a physics laboratory. Yet in a few more decades we may find the poets eagerly converting the raw materials of science into the essence of poetry itself, and by a mystic alchemy more wonderful than any yet known, transmuting intellectual problems of science into magic verse. Creation, by Alfred Noyes, is an impressive discussion of evolution as related to God.

      Perhaps another reason why these themes have not been utilized in poetry is because they are too fantastic, too bizarre. They lack the proportion and sense of artistic harmony that poetry requires. Strangeness and wonder are true elements of poetry, and magic is an element of the greatest art, but in solution as it were, not in the form observed in science. The miracles of the laboratory are too abrupt, too inconceivable save by intellectual analysis, and present too great a strain upon the powers of the imagination. They are fantastic, while true poetry is concerned with the fancy. Magic and wonder in verse must come from concepts that steal upon the imagination and make appeal through the emotions. Thus some forms of supernaturalism are admirably adapted to the province of poetry, such as the presence of spirits, visitations of angels or demons, ancient witchcraft, and so forth. The elements that have universal appeal through the sense of the supernatural move us in poetry, but the isolated instances, the peculiar problems that occur in scientific research if transferred to poetry would leave us cold. Yet they may come to be used in the next vers libre.

      Nor do these situations come over into the drama save in rare instances. Theodore Dreiser, in a recent volume, Plays of the Natural and the Supernatural, makes use of certain motifs that are striking and modern, as where a physician goes on the operating-table, the dramatis personæ including Demyaphon (Nitrous Acid), and