Our Lady of Darkness — Reading Companion

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Capes, Bernard, 1854-1918 Project Gutenberg 2021 Not confirmed
Historical fiction; France -- History -- Revolution, 1789-1799 -- Fiction; British -- France -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 119,748
Reading time 521 min
Text sections 12

Before opening Our Lady of Darkness — Reading Companion, the edition data offers a quick orientation: 119,748 words, 8 hr 41 min estimated reading time, and 12 detected text sections.

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Project Gutenberg metadata also associates the work with “Historical fiction,” connecting these edition facts with the source record’s subject description.

Bernard Capes' 1899 novel opens with a grotesque portrait of the aged Viscount Murk, then follows his nephew Ned through the French Revolution. The excerpts trace a shift from satirical London society to revolutionary Paris, where Ned confronts violence and loss, guided by the epigraph's 'Mater Tenebrarum.'
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Editorial Edition Score 4.8/5

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. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER XI. CHAPTER XII. CHAPTER XIII. CHAPTER XIV. CHAPTER XV. CHAPTER XVI. CHAPTER XVII. CHAPTER XVIII. CHAPTER XIX. CHAPTER XX.

BOOK II. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER XI. CHAPTER XII. CHAPTER XIII. CHAPTER XIV. CHAPTER XV. CHAPTER XVI. CHAPTER XVII. CHAPTER XVIII.

OUR LADY OF DARKNESS. BOOK I.

From two till four o’clock on any summer afternoon during the penultimate decade of the last century, the Right Honourable Gustavus Hilary George, third Viscount Murk, Baron Brindle and Knight of the Stews, with orders of demerit innumerable--and, over his quarterings, that bar-sinister which would appear to be designed for emphasis of the fact that the word _rank_ has a double meaning--might be seen (in emulation of a more notable belswagger) ogling the ladies from the verandah of his house in Cavendish Square. That this, his lordship’s daily habit, was rather the expression of an ineradicable self-complacency than its own justification by results, the appearance of the withered old applejohn himself gave testimony. For here, in truth, was a very _doyen_ of dandy-cocks--a last infirmity of fribbles--a macaroni with a cuticle so hardened by the paint and powder of near fourscore years as to be impervious to the shafts of ridicule. He would blow a kiss along the palm of his palsied hand, and never misdoubt the sure flight of this missive, though his unmanageable wrist should beat a tattoo on his nose the while; he would leer through quizzing-glasses of a power to exhibit in horrible accent the rheum of his eyes; he would indite musky _billets-doux_, like meteorological charts, to Dolly or Dorine, and, forgetting their direction when despatched, would simper over the quiddling replies as if they were archly amorous solicitations. Upon the truth that is stranger than fiction he had looked all his life as upon an outer barbarian, the measure of whose originality was merely the measure of uncouthness. Nature, in fact, was a dealer of ridiculous limitations; art, a merchant of inexhaustible surprises. Vanity! he would quote one fifty instances in support of the fact that it was the spring-head of all history. Selfishness! was it not the first condition of organic existence? Make-believe! the whole world’s system of government, from royalty to rags, was founded upon it. Therefore he constituted himself understudy to his great prototype of Queensberry; and therefore he could actually welcome the loss or deterioration of anything bodily and personal for the reason that it presented him with the opportunity to substitute mechanical perfection for natural deficiency. Perhaps at no period of his life had he so realised his ideal of existence as when, upon his seventy-seventh year, he found himself false--inside and out--from top to toe.

“Death,” he chuckled, “will be devilish put to it to stab me in a vital part.”

He said this to his grand-nephew, the orphaned heir-apparent to his title and moderate estates and to nothing else that he valued.

The young man was, indeed, his uncle’s very antithesis--his butt, his foil, his aggravation. He, the nephew, considered no doubt that he held a brief for the other side (truth to oneself, we will call it); and he was never at great pains to disguise his contempt of a certain order of licence. Cold, dry, austere, he had yet that observant faculty that, conceiving of circumstance, may fall pregnant with either justice or inhumanity. At present, from the height of his twenty-five years, he looked with a tolerant serenity into the arena of struggling passions.

“This is all vastly foolish,” was his superior reflection. “Am I destined to make a practice of turning my thumb up or down?”

Now, on a certain day of ’88, he walked into the house in Cavendish Square and joined his unvenerable elder on the balcony.

“Give me the parasol, Jepps,” said he. “I will hold it over Lord Murk’s head.”

The man obeyed, and withdrew. The uncle turned himself about, with a little feint of protest.

“Well,” he said resignedly, “your chacolate makes a pretty foil to my azure; and if you must dress like an attorney’s clerk, you hev at least the unspeakable satisfaction of posing as background to a gentleman.”

His glasses dangled from his neck by a broad black ribbon. He lifted them as he spoke, and conned a passing face.

“Egad!” said he, involuntarily extending his left hand as if to deprecate interruption, “what a form! What a ravishing and seductive elegance! Strake me, Ned, but if thou wert other than a bran-stuffed jackalent, I’d send thee thither to canvass for me.”

The novel begins not in revolutionary France but in the drawing-rooms of London, with a portrait of the third Viscount Murk so exaggerated it borders on the grotesque. Bernard Capes describes the old peer as a 'doyen of dandy-cocks' and a 'macaroni with a cuticle so hardened by the paint and powder of near fourscore years as to be impervious to the shafts of ridicule.' His daily ritual of ogling ladies from his verandah is rendered with a satirical edge that recalls eighteenth-century caricature. Yet the epigraph, taken from De Quincey, warns of a darker force: 'Our Lady of Darkness,' who rules only those 'in whom a profound nature has been upheaved by central convulsions.' This tension between brittle comedy and looming catastrophe sets the stage for a narrative that will move from the absurdities of aristocratic London to the convulsions of Paris.

A Satirical Opening and Its Limits

The first chapter introduces the Viscount Murk as a figure of pure vanity: he 'would blow a kiss along the palm of his palsied hand' and 'leer through quizzing-glasses of a power to exhibit in horrible accent the rheum of his eyes.' Capes’s prose is deliberately ornate, piling up clauses and epithets to mimic the excess it describes. The narrator’s voice is arch, even cynical: 'Nature, in fact, was a dealer of ridiculous limitations; art, a merchant of inexhaustible surprises.' This satirical mode, however, is not sustained. When the Viscount dies suddenly—'dead of a rushing apoplexy'—the tone shifts. The narrator’s curt dismissal ('That is all that it is necessary to say about him') suggests a deliberate truncation of comedy. The reader is left to wonder whether the novel’s real subject lies elsewhere, perhaps in the 'white face, crowned with a mass of beautiful hair' that appears briefly in the doorway.

The Shift to Revolutionary Paris

By Book II, the setting has moved to Suffolk, but the Revolution remains a distant pressure. Edward, now Lord Murk, has sold the London properties and lives quietly at 'Stowling.' The narrator notes that he 'had not once been abroad' in three years, yet he follows 'the progress of the great Revolution' and may have contributed to its 'sinews of war.' His earlier Paris experiences have given 'final direction' to his ethical speculations, though he remains 'theoretically as convinced as ever that men should be made virtuous by Act of Parliament.' The language here is more measured, less flamboyant, reflecting a protagonist who has withdrawn from action into reflection. The reader, however, knows from the epigraph that such withdrawal may be temporary: 'Our Lady of Darkness' approaches only those 'in whom the heart trembles, and the brain rocks under conspiracies of tempest.'

Recurring Motifs: The Bar Sinister and the Ghostly Image

Two details from the opening chapters reward attention. First, the Viscount’s coat of arms includes 'that bar-sinister which would appear to be designed for emphasis of the fact that the word rank has a double meaning.' This heraldic mark of illegitimacy hints at hidden lineage or moral stain. Second, the apparition of a woman’s face—'a white face, crowned with a mass of beautiful hair'—appears at the moment of the Viscount’s death and then vanishes. The narrator does not explain it, but the image recurs later in Ned’s daydreams: 'often in his day-dreams he would be back at Madame Gamelle’s, watching all...' The ellipsis is in the text, suggesting a memory too painful or incomplete to articulate. These motifs—the bar sinister and the haunting face—may be keys to the novel’s deeper concerns with identity, guilt, and the return of the repressed.

The Epigraph as a Reading Lens

The De Quincey epigraph names 'Mater Tenebrarum—Our Lady of Darkness' as 'the defier of God' and 'the mother of lunacies.' It specifies that she rules only a 'narrow nation'—those 'in whom a profound nature has been upheaved by central convulsions.' This framing invites the reader to see the Revolution not merely as a historical backdrop but as a psychological and spiritual upheaval. The novel’s title, then, is not a reference to the Virgin Mary but to a darker feminine principle. The excerpts do not reveal how this principle manifests in the plot, but the epigraph suggests that the characters most susceptible to her influence are those already shaken by inner or outer tempest. As you read, note which characters experience such 'central convulsions' and how the novel’s language shifts when it approaches them.

The excerpts from Our Lady of Darkness show a novel in motion: from satirical portraiture to psychological drama, from London to Paris, from the brittle comedy of the old Viscount to the haunted stillness of his successor. The epigraph warns of a force that thrives on upheaval, and the text itself seems to enact that upheaval in its tonal shifts and narrative gaps. Pay attention to moments when the ornate prose gives way to something more stark, or when a character’s past intrudes on the present without explanation. These may be the points where 'Our Lady of Darkness' makes her presence felt.

I kept thinking about how Our Lady of Darkness wraps its sorrow in that old, satirical voice, and then lets it fray against the Revolution’s real blood. It reminded me of another quiet story, Gabrielle de Bergerac — Story, Setting & Ideas, where a similar gentleness sits under pressure. Both left me holding a feeling I couldn’t quite name, just carrying it around for days after.

Gabriel Allen
1 month ago

Olivia Walker
2 weeks ago

Madison Moore
2 weeks ago

Lucas Williams
4 weeks ago

Wyatt Hall
1 month ago

4.5
4.5 out of 5 (5 User reviews )

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    Douglas Thomas - 1 month ago
    Our Lady of Darkness feels like a relic from a bygone era of horror. The suspense is minimal, and the story relies too heavily on the author's personal nostalgia for San Francisco. The protagonist is dull, and the occult elements are confusingly explained. I was bored for most of the book, and the payoff wasn't worth the effort. There are far more compelling horror stories out there.

  • ...
    Brett Williams - 1 month ago
    Our Lady of Darkness is an intriguing read with a unique premise and a strong sense of place. The protagonist is well-drawn, and Leiber's handling of the occult is nuanced. However, the pacing is slow, and some of the occult details may feel dated. Fans of classic horror will likely enjoy it, but it may not resonate with a modern audience.

  • ...
    Tara Shaffer - 3 weeks ago
    Our Lady of Darkness is a masterful blend of horror, mystery, and urban gothic. Leiber's portrayal of San Francisco is both familiar and eerie, and the main character's descent into obsession is hauntingly believable. The story is cleverly structured around a real-life mystery, adding depth and intrigue. The atmosphere is thick with dread, and the final revelation is deeply satisfying. A horror classic that deserves its reputation.


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