Halloween

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha. 

About Halloween 

Halloween or Hallowe’en (less commonly known as Allhalloween, All Hallows’ Eve, or All Saints’ Eve) is a celebration observed in many countries on the 31st of October, the eve of the Western Christian feast of All Saints’ Day.  It begins the observance of Allhallowtide, the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.

One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which is believed to have pagan roots.  Some go further and suggest that Samhain may have been Christianised as All Hallow’s Day, along with its eve, by the early Church.  Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow’s Day.  Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century, and then through American influence Halloween had spread to other countries by the late 20th and early 21st century.

Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o’-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.  Some people practice the Christian religious observances of All Hallows’ Eve, including attending church services and lighting candles on the graves of the dead, although it is a secular celebration for others.  Some Christians historically abstained from meat on All Hallows’ Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.  

Image ©Toby Ord via Wikipedia

A Jack o’ Lantern made for the Holywell Manor Halloween celebrations in 2003. 

Etymology  

The word Halloween or Hallowe’en (Saints’ evening) is of Christian origin.  It is a term equivalent to All Hallows Eve and is attested in Old English. It comes from the Scottish form of All Hallows’ Eve (the evening before All Hallows’ Day).  Even is the Scots term for eve or evening, and is contracted to e’en or een so (All) Hallow(s) E(v)en became Hallowe’en.   

The History Of Halloween   

Christian Origins And Historic Customs 

Halloween is thought to have influences from Christian beliefs and practices.  The English word Halloween comes from All Hallows’ Eve, being the evening before the Christian holy days of All Hallows’ Day (All Saints’ Day) on the 1st of November and All Souls’ Day on the 2nd of November.  Since the time of the early Church, major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows’.  These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven.  Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.  In 4th-century Roman Edessa it was held on the 13th of May, and on this date in 609, Pope Boniface IV re-dedicated the Pantheon in Rome to St Mary and all martyrs.  This was the date of Lemuria, an ancient Roman festival of the dead.

In the 8th century, Pope Gregory III (731 – 741) founded an oratory in St. Peter’s for the relics of the holy apostles and of all saints, martyrs and confessors.  Some sources say it was dedicated on the 1st of November, while others say it was on Palm Sunday in April 732.  By 800, there was evidence that churches in Ireland and Northumbria were holding a feast commemorating all saints on November 1st.  Alcuin of Northumbria, a member of Charlemagne’s court, may then have introduced this 1st of November date in the Frankish Empire.  In 835, it became the official date in the Frankish Empire.  Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea, although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.  They may have seen it as the most fitting time to do so, as it is a time of dying in nature.  It is also suggested the change was made on the practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it, and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome’s sultry summers.

By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory.  It was also customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls.  The Allhallowtide custom of baking and sharing soul cakes for all christened souls has been suggested as the origin of trick-or-treating.  The custom dates back at least as far as the 15th century and was found in parts of England, Wales, Flanders, Bavaria and Austria.  Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers’ friends and relatives.  This was called souling.  Soul cakes were also offered for the souls themselves to eat,  or the soulers would act as their representatives.  As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.  Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).  While souling, Christians would carry lanterns made of hollowed-out turnips, which could have originally represented souls of the dead.  These jack-o’-lanterns were used to ward off evil spirits.  On All Saints’ and All Souls’ Day during the 19th century, candles were lit in homes in Ireland, Flanders, Bavaria, and Tyrol, where they were called soul lights, which served to guide the souls back to visit their earthly homes.  In many of these places, candles were also lit at graves on All Souls’ Day.  In Brittany, libations of milk were poured on the graves of kinfolk, or food would be left overnight on the dinner table for the returning souls.  This custom was also found in Tyrol and parts of Italy.

Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts.  It was traditionally believed that the souls of the departed wandered the earth until All Saints’ Day, and All Hallows’ Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world.  In order to avoid being recognised by any soul that might be seeking such vengeance, people would don masks or costumes.  In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.  Some Christians observe this custom at Halloween today.   American historian Lesley Bannatyne believes this could have been a Christianisation of an earlier pagan custom.   Many Christians in mainland Europe, especially in France, believed that once a year, on Hallowe’en, the dead of the churchyards rose for one wild, hideous carnival known as the danse macabre, which was often depicted in church decoration. Historians Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians not to forget the end of all earthly things.  The danse macabre was sometimes enacted in European village pageants and court masques, with people dressing up as corpses from various strata of society, and this may be the origin of Halloween costume parties.

In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a popish doctrine incompatible with the Calvinist doctrine of predestination.  State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow’s Day remained in the English liturgical calendar to commemorate saints as godly human beings.  For some Nonconformist Protestants, the theology of All Hallows’ Eve was redefined and said that souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert.  Instead, the so-called ghosts are thought to be in actuality evil spirits.  Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).  In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead.  The Anglican church eventually suppressed this bell-ringing.  Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl both wrote that barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they travelled the earth.  After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night ( November 5th), which appropriated some of its customs.  In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th – 19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows’ Eve.  One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out.  This was known as teen’lay.  There was a similar custom in Hertfordshire and the lighting of tindle fires in Derbyshire.  Some suggested these tindles were originally lit to guide the poor souls back to earth.  In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they were important to the life cycle and rites of passage of local communities and curbing them would have been difficult.

In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.  In 19th-century Italy, churches staged theatrical re-enactments of scenes from the lives of the saints on All Hallow’s Day, with participants represented by realistic wax figures.  In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.  In the same country, parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night.  In Spain, they continue to bake special pastries called bones of the holy (Spanish: Huesos de Santo) and set them on graves.  At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all-night vigil.  In 19th-century San Sebastian, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who appealed to the tender recollections of one’s deceased relations and friends for sympathy. 

Image via Wikipedia by John Masey Wright is in the public domain

Halloween (1785) by Scottish poet Robert Burns, recounts various legends of the holiday.   

Image © unknown via Wikipedia is in the public domain

A Bangladeshi girl lighting grave candles on the headstone of a deceased relative in the city of Chittagong for the observance of Allhallowtide.

While she is doing this, her mother is praying for their passed relative. In the background, there are other Bangladeshi Christians hanging garlands on cross-shaped grave stones. 

Image © unknown via Wikipedia is in the public domain

Four young adult Lutheran Christians praying on the night of All Hallows’ Eve (Halloween) for Christian martyrs, saints, and all the faithful departed, especially their loved ones, in preparation for All Hallows’ Day (All Saints’ Day), the following day of Hallowtide.

These Swedes, as well as other believers, have also lit votive candles and hung wreaths near the crucifix by which they are solemnly praying.  This photograph was taken in the Solna Municipality of Stockholm, Sweden. 

The Geography Of Halloween  

You can read more Geography of Halloween here.  

Image © 663highland via Wikipedia

A Halloween display in Harborland, Kobe, Hyogo, Japan. 

Gaelic Folk Influence 

Today’s Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.  Jack Santino, a folklorist, writes that “there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived”.  The origins of Halloween customs are typically linked to the Gaelic festival Samhain.

Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated from October 31st to November 1st in Ireland, Scotland and the Isle of Man.  A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany. this is a name meaning the first day of winter.  For the Celts, the day ended and began at sunset, thus the festival begins the evening before the 1st of November by modern reckoning.  Samhain is mentioned in some of the earliest Irish literature.  The names have been used by historians to refer to Celtic Halloween customs up until the 19th century, and are still the Gaelic and Welsh names for Halloween.

Samhain marked the end of the harvest season and the beginning of winter or the darker half of the year.  It was seen as a liminal time when the boundary between this world and the Otherworld thinned.  This meant the Aos Sí, the spirits or fairies, could more easily come into this world and were particularly active.  Most scholars see them as degraded versions of ancient gods whose power remained active in the people’s minds even after they had been officially replaced by later religious beliefs.  They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings. At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter.  Offerings of food and drink, or portions of the crops, were left outside for them.  The souls of the dead were also said to revisit their homes seeking hospitality.  Places were set at the dinner table and by the fire to welcome them.  The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.  In 19th century Ireland, candles would be lit and prayers formally offered for the souls of the dead.  After this, the eating, drinking, and games would begin.

Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one’s future, especially regarding death and marriage.  Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.  Special bonfires were lit and there were rituals involving them.  Their flames, smoke, and ashes were deemed to have protective and cleansing powers.  In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them  It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.  They were also used for divination and to ward off evil spirits.  In Scotland, these bonfires and divination games were banned by the church elders in some parishes.  In Wales, bonfires were also lit to prevent the souls of the dead from falling to earth. Later, these bonfires kept away the devil.

From at least the 16th century, the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.  This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food.  It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to souling.  Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.  In parts of southern Ireland, the guisers included a hobby horse.  A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses (some of which had pagan overtones) in exchange for food.  If the household donated food it could expect good fortune from the Muck Olla and not doing so would bring misfortune.  In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.   F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.  In parts of Wales, men went about dressed as fearsome beings called gwrachod.  In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.

Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers.  From at least the 18th century, imitating malignant spirits led to playing pranks in Ireland and the Scottish Highlands.  Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.  Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.  By those who made them, the lanterns were variously said to represent the spirits, or used to ward off evil spirits.  They were common in parts of Ireland and the Scottish Highlands in the 19th century, as well as in Somerset, known as Punkie Night.  In the 20th century, they spread to other parts of Britain and became generally known as jack-o’-lanterns.  

Image © Rannpháirtí anaithnid via Wikipedia

A traditional Irish Halloween mask.

This early 20th-century mask is displayed at the Museum of Country Life in Ireland.  

Image by Daniel Maclise via Wikipedia is in the public domain

Snap-Apple Night, painted by Irish artist Daniel Maclise in 1833.

It shows people feasting and playing divination games on Halloween in Ireland.   It was inspired by a Halloween party he attended in Blarney, in 1832.   

Image © Rannphairti anaithnid via Wikipedia

A traditional Irish Jack-o’-lantern.

This plaster cast of a Halloween turnip (rutabaga) lantern is on display in the Museum of Country Life in Ireland.

Spread To North America 

Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland recognised All Hallow’s Eve in their church calendars, although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.  Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.

It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.  Most American Halloween traditions were inherited from the Irish and Scots, though in Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night.  Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside.  Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.   Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East. 

Image © InSapphoWeTrust via Wikipedia

The Greenwich Village Halloween Parade.

This annual Halloween Parade takes place in New York, U.S.A. and it heads up Sixth Avenue.  It’s hard to top this when it comes to Halloween, whether in New York City or anywhere else.  This group is doing the mass zombie dance as seen in Michael Jackson’s Thriller music video.    

Symbols  

Development of artefacts and symbols associated with Halloween formed over time.  Jack-o’-lanterns are traditionally carried by guisers on All Hallows’ Eve in order to frighten evil spirits.  There is a popular Irish Christian folktale associated with the jack-o’-lantern, which in folklore is said to represent a soul who has been denied entry into both heaven and hell. 

The folktale says that on route home after a night’s drinking, Jack encounters the Devil and tricks him into climbing a tree.  A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil.   Jack strikes a bargain that Satan can never claim his soul.  After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies.  Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him.  It was a cold night, so Jack placed the coal in a hollowed-out turnip to stop it from going out, since which time Jack and his lantern had been roaming looking for a place to rest.

In Ireland and Scotland, the turnip has traditionally been carved during Halloween, but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip. The American tradition of carving pumpkins was recorded in 1837 and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.  

Image © Anthony22 via Wikipedia

Outdoor Halloween decorations.  

Image © Smallbones via Wikipedia and is in the public domain

A decorated house in Weatherly, Carbon County, Pennsylvania. 

Trick-Or-Treating And Guising 

You can read more about trick-or-treating here.

Trick-or-treating is a customary celebration for children on Halloween.  Children go in costume from house to house usually getting sweet treats or sometimes money, asking the question, “Trick or treat?” The word trick implies a they will perform mischief on the homeowners or their property if no treat is given.  The practice is said to have roots in the medieval practice of mumming, which is closely related to soulingJohn Pymm wrote that “many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church.” These feast days included All Hallows’ Eve, Christmas, Twelfth Night and Shrove Tuesday.  Mumming practised in Germany, Scandinavia and other parts of Europe, involved masked persons in fancy dress who paraded the streets and entered houses to dance or play dice in silence.

In England, from the medieval period, up until the 1930’s, people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic, going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.  In the Philippines, the practice of souling is called Pangangaluluwa and is practised on All Hallow’s Eve among children in rural areas.  People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.

In Scotland and Ireland, guising is a traditional Halloween custom.  This is where children disguised in costume go from door to door for food or coins.  It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped-out turnips, visit homes to be rewarded with cakes, fruit, and money.  In Ireland, the most popular phrase for kids to shout (until the 2000’s) was “Help the Halloween Party”.  The practice of guising at Halloween in North America was first recorded in 1911, when a newspaper in Kingston, Ontario, Canada, reported children going guising around the neighbourhood.

American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the U.S.A. titled The Book of Hallowe’en (1919), and references souling in the chapter Hallowe’en in America.  In her book, Kelley touches on customs that arrived from across the Atlantic, she said, “Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries”.

While the first reference to guising in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.  The earliest known use in print of the term trick or treat appears in 1927, in the Blackie Herald, of Alberta, Canada.

The thousands of Halloween postcards produced between the turn of the 20th century and the 1920’s commonly show children but not trick-or-treating.  Trick-or-treating did not seem to have become a widespread practice in North America until the 1930’s, with the first U.S.A. appearances of the term in 1934, and the first use in a national publication occurring in 1939.

A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when children are offered treats from the trunks (or boot as we say in the U.K.) of cars parked in a church parking lot, or sometimes, a school parking lot.  In a trunk-or-treat event, the boot of each car is decorated with a certain theme, such as those of children’s literature, movies, scripture, and job roles.  Trunk-or-treating has grown in popularity due to its perception as being safer than going door to door, a point that resonates well with parents, as well as the fact that it solves the rural conundrum in which homes are built a half-mile apart.  

Image © ToyahAnette B via Wikipedia and is in the public domain

Trick-or-treaters in Sweden. 

Image © unknown via Wikipedia and is in the public domain

A girl in a Halloween costume at Waterdown Public School, Waterdown, Ontario, Canada in 1928.

Waterdown is the same province where the Scottish Halloween custom of guising was first recorded in North America.  

Image © unknown via Wikipedia and is in the public domain

A Trunk-Or-Treat Event In Darien, Illinois, U.S.A.

This event is at the Lutheran Church and Early Learning Center in Darien.  This particular car has a jack-o’-lantern theme.   

Costumes  

Read more about Halloween costumes here.  You can see the Halloween costumes I have worn over the years here.

Halloween costumes were traditionally modelled after figures such as vampires, ghosts, skeletons, scary-looking witches, and devils.  Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses.

Dressing up in costumes and going guising was prevalent in Scotland and Ireland at Halloween by the late 19th century.  A Scottish term, the tradition is called guising because of the disguises or costumes worn by the children.  In Ireland and Scotland, the masks are known as false faces, a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers.  He said, “I had mind it was Halloween.  The wee callans (boys) were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)”.  Costuming became popular for Halloween parties in the U.S.A. in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the U.S.A. in the 1920’s and 1930’s.

Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows’ Eve, suggesting that by dressing up as creatures who at one time caused us to fear and tremble, people are able to poke fun at Satan whose kingdom has been plundered by Jesus.  Images of skeletons and the dead are traditional decorations used as memento more.

The yearly New York’s Village Halloween Parade was begun in 1974 and it is the world’s largest Halloween parade and America’s only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience. 

Image © Ardfern via Wikipedia

A Halloween shop in Waterloo Street, Derry, County Londonderry, Northern Ireland, selling masks in 2010.  

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This is a very cool Universal Classic Monsters mask I purchased for Halloween 2023.  It is officially licenced by Universal Studios and made for Trick Or Treat Studios.  It is, to date, the favourite mask I have in my mask collection and what I have worn for Halloween parties.  To see me in this and many more masks click here.

Pet Costumes  

According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018.  This is up from an estimated $200 million in 2010.  The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.   

Games And Other Activities 

There are several games traditionally associated with Halloween.  Some of these games originated as divination rituals or ways of foretelling one’s future, especially regarding death, marriage and children.  During the Middle Ages, these rituals were done by a rare few in rural communities as they were considered to be deadly serious practices.  In recent centuries, these divination games have been a common feature of the household festivities in Ireland and Britain.  They often involve apples and hazelnuts.  In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.  Some also suggest that they derive from Roman practices in celebration of Pomona.

The following activities were a common feature of Halloween in Ireland and Britain during the 17th – 20th centuries.  Some have become more widespread and continue to be popular today.  One common game is apple bobbing or dunking (which may be called dooking in Scotland) in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin.  A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple.  Another common game involves hanging up treacle or syrup-coated scones by strings.  These must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face.  Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other.  The rod is spun round and everyone takes turns to try to catch the apple with their teeth.

Several of the traditional activities from Ireland and Britain involve foretelling one’s future partner or spouse.  An apple would be peeled in one long strip, then the peel tossed over the shoulder.  The peel is believed to land in the shape of the first letter of the future spouse’s name.  Two hazelnuts would be roasted near a fire, one named for the person roasting them and the other for the person they desire.  If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.  A salty oatmeal bannock would be baked and the person would eat it in three bites and then go to bed in silence without anything to drink.  This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.  Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.  The custom was widespread enough to be commemorated on greeting cards from the late 19th century and early 20th century.

Another popular Irish game was known as púicíní (blindfolds).  This involves a person being blindfolded and then they would choose between several saucers.  The item in the saucer would provide a hint as to their future.  A ring would mean that they would marry soon, clay meant that they would die soon (perhaps within the year), water meant that they would emigrate, rosary beads meant that that they would take Holy Orders (become a nun, priest, monk, etc.), a coin meant that they would become rich and a bean meant that they would be poor.  The game features prominently in the James Joyce short story Clay (1914).

In Ireland and Scotland, items would be hidden in food (usually a cake, barmbrack, cranachan, champ or colcannon) and portions of it served out at random.  A person’s future would be foretold by the item they happened to find,  for example, a ring meant marriage and a coin meant wealth.

Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person.  In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.

Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties.  Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday.  

Image by unknown via Wikipedia and is in the public domain

A 1904 Halloween greeting card.

This early 20th-century card divination depicts a young woman looking into a mirror in a darkened room in hopes of catching a glimpse of her future husband.

Image by Charles F. Lester via Wikipedia and is in the public domain

Children bobbing for apples on Halloween.

The image above is from the book titled Hallowe’en at Merryvale, which was written by Alice Hale Burnett and illustrated by Charles F. Lester in 1916.  It comes from The Project Gutenberg and can be found by clicking here

Image by unknown via Wikipedia and is in the public domain

A Halloween gathering.

The image above is from the book titled The Book of Hallowe’en, which was written by Ruth Edna Kelley and illustrated by unknown in 1919.  It comes from The Project Gutenberg and can be found by clicking here

Haunted Attractions  

You can read more about haunted attractions here.

Haunted attractions are entertainment venues designed to thrill and scare their customers.  Most attractions are seasonal Halloween businesses that may include haunted houses etc. and the level of sophistication of the effects has risen as the industry has grown.

The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England.  This attraction actually most closely resembles a carnival fun house, powered by steam.  The House still exists, in the Hollycombe Steam Collection.

It was during the 1930’s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America.  It was in the late 1950’s that haunted houses as a major attraction began to appear, focusing first on California.  Sponsored by the Children’s Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957.  The San Bernardino Assistance League Haunted House opened in 1958.  Home haunts began appearing across the country during 1962 and 1963.  In 1964, the San Manteo Haunted House opened, as well as the Children’s Museum Haunted House in Indianapolis.

The haunted house as an American cultural icon can be attributed to the opening of The Haunted Mansion in Disneyland on the 12th of August 1969.  Knott’s Berry Farm began hosting its own Halloween night attraction, Knott’s Scary Farm, which opened in 1973.  Evangelical Christians adopted a form of these attractions by opening one of the first hell houses in 1972.

The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio.  It was co-sponsored by W.S.A.I. (an AM radio station broadcasting out of Cincinnati, Ohio).  It was last produced in 1982.  Other Jaycees followed suit with their own versions after the success of the Ohio house.  The March of Dimes copyrighted a Mini haunted house for the March of Dimes in 1976 and began fundraising through their local chapters by conducting haunted houses soon after.  Although they apparently quit supporting this type of event nationally sometime in the 1980’s, some March of Dimes haunted houses have persisted until today.

On the evening of May 11th, 1984, in Jackson Township, New Jersey, the Haunted Castle at Six Flags Great Adventure caught fire.  As a result of the fire, eight teenagers perished.  The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide.  The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better-funded commercial enterprises filled the vacuum.  Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.

In the late 1980’s and early 1990’s, theme parks entered the business seriously.  Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991.  Knott’s Scary Farm experienced a surge in attendance in the 1990’s as a result of America’s obsession with Halloween as a cultural event.  Theme parks have played a major role in globalizing the holiday.  Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey’s Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.  The theme park haunts are by far the largest, both in scale and attendance. 

Image © AgadaUrbanit via Wikipedia and is in the public domain

Humorous tombstones for Halloween.

These were in front of a house with a haunted house theme in Northern California, U.S.A. 

A humorous Halloween window display window in Historic 25th Street, Ogden, Utah, U.S.A.  

Food 

On All Hallows’ Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.

Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, toffee apples (known as candy apples or taffy apples in the U.S.A.) and caramel apples are Halloween treats made by rolling whole apples in a sticky sugar syrup, or caramel, sometimes followed by rolling them in nuts or other small savouries or confections and allowing them to cool.

One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.  It is considered fortunate to be the lucky one who finds it.  It has also been said that those who get a ring will find their true love in the ensuing year.  This is similar to the tradition of king cake at the festival of Epiphany.

Halloween-themed foods are also produced by companies in the lead-up to the night, for example, when Cadbury releases Goo Heads (similar to Creme Eggs) in spooky wrapping.

Here are some foods associated with Halloween around the world:

Barmbrack.

Bonfire toffee.

Candy apples.

Candy corn.

Candy pumpkins.

Caramel apples.

Caramel corn.

Chocolate.

Colcannon.

Halloween cake.

Monkey nuts (peanuts in their shells).

Novelty sweets/candy shaped like skulls, pumpkins, bats, worms, etc.

Pumpkin Pie.

Roasted pumpkin seeds.

Roasted sweet corn.

Soul cakes.

Sweets/candy.

Toffee apples. 

Image © Raysonho via Wikipedia and is in the public domain

Pumpkins for sale during Halloween. 

Image © Evan-Amos via Wikipedia

A toffee apple with peanuts. 

Image © Joseolgon via Wikipedia

A jack-o’-lantern Halloween cake with a witches hat.

This cake was made in Braga, Portugal. 

See Also 

Campfire story.

Devil’s Night.

Dziady.

Ghost Festival.

Naraka Chaturdashi.

Kekri.

List of fiction works about Halloween.

List of films set around Halloween.

List of Halloween television specials.

Martinisingen.

Neewollah.

St. John’s Eve.

Walpurgis Night.

Will-o’-the-wisp.

English festivals.

The above articles and the rest of the images on this page were sourced from Wikipedia and are subject to change.

Read more about Halloween and notes etc. regarding the above post here

Blog Posts

Notes And Links

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5).  

The image above by  John Masey Wright is via Wikipedia and is in the public domain.

The image above of a Bangladeshi girl lighting grave candles on the headstone of a deceased relative in the city of Chittagong for the observance of Allhallowtide via Wikipedia is copyright unknown and is in the public domain.

The image above of four young adult Lutheran Christians praying on the night of All Hallows’ Eve via Wikipedia is copyright unknown and is in the public domain.

The image shown above of a traditional Irish Halloween mask is the copyright of Wikipedia user Rannpháirtí anaithnid.  It comes with a Creative Commons licence (CC BY-SA 3.0)  

The image above of Snap-Apple Night, painted by Irish artist Daniel Maclise in 1833 is via Wikipedia and is in the public domain.

The image shown above of a traditional Irish Jack-o’-lantern is the copyright of Wikipedia user Rannpháirtí anaithnid.  It comes with a Creative Commons licence (CC BY-SA 3.0)  

The image shown above of the Greenwich Village Halloween parade is the copyright of Wikipedia user InSapphoWeTrust (Scarlet Sappho).   It comes with a Creative Commons licence (CC BY-SA 3.0) You can find more great work from her by clicking here.

The image shown above of outdoor Halloween decorations is the copyright of Wikipedia user Anthony22.  It comes with a Creative Commons licence (CC BY-SA 3.0)

The image above of a decorated house in Weatherly, Carbon County, Pennsylvania, U.S.A. is the copyright of Wikipedia user Smallbones and is in the public domain. You can find more of the user’s great work by clicking here.

The image above of trick-or-treaters in Sweden is the copyright of Wikipedia user ToyahAnetteB and is in the public domain.

The image above of a girl in a Halloween costume at Waterdown Public School, Waterdown, Ontario, Canada in 1928 via Wikipedia is copyright unknown and is in the public domain.

The image above of a Trunk-Or-Treat Event In Darien, Illinois, U.S.A. via Wikipedia is copyright unknown and is in the public domain.

The image shown above of a Halloween shop in Derry, Northern Ireland, selling masks is the copyright of Wikipedia user Ardfern.  It comes with a Creative Commons licence (CC BY-SA 3.0)  

The image above of a 1904 Halloween greeting card is by unknown via Wikipedia and is in the public domain.

The image above of a Halloween gathering is by unknown via Wikipedia and is in the public domain.

The image shown above of Humorous tombstones for Halloween is the copyright of Wikipedia user AgadaUrbanit and is in the public domain.

The image shown above of Pumpkins for sale during Halloween is the copyright of Wikipedia user Raysonho and is in the public domain.

The image shown above of a toffee apple with peanuts is the copyright of Wikipedia user Evan-Amos.  It comes with a Creative Commons licence (CC BY-SA 3.0)You can find more of the user’s great work by clicking here.

The image shown above of a jack-o’-lantern Halloween cake with a witches hat is the copyright of Wikipedia user Joseolgon.  It comes with a Creative Commons licence (CC BY-SA 4.0).  

The image shown above of a Halloween display in Harborland, Kobe, Hyogo, Japan is the copyright of Wikipedia user 663highland.  It comes with a Creative Commons licence (CC BY-SA 2.5)You can find more of the user’s great work by clicking here.

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

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Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.   

Halloween Photos (Part 4)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors, in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest due to poor-quality camera equipment.  I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

2022  (Continued)  

Click here for 2022 details.

Image © Joanne Wheeler

A small Halloween holiday family get-together.

Me, my sister Julie and great nephews Archie, Harley, Kenny and Oscar.

Image © Frank Parker
Image © Frank Parker

My goody bag from the kid’s get-together.

I wasn’t expecting this treat from my niece Joanne so it was nice to be included as one of the kids, ha ha and I thank her for it.

2023

This was my sixth Halloween party and I wore a Frankenstein costume complete with my very cool mask.  This realistic full overhead, latex mask with added hair (designed in the U.S.A. and made in Mexico) is officially licenced by Universal Studios and made for Trick Or Treat Studios and, for a very pleasant change, the quality of it was exactly like in the photo from the place I ordered it from (but I knew it would be after reading very good reviews).   It has been my most expensive mask to date at £68 but that old saying you get what you pay for rings very true here.  It was worth every penny and I can’t wait to put it on display in my bungalow one day. Regardless of the price, I was very happy about it and I enjoyed wearing it (it’s just a shame one or both of the electrodes were hidden a lot in the photos of me wearing it.  This is because I pulled my t-shirt up too far without realising it).   It has now become my favourite Halloween costume since I started wearing Halloween costumes, more so the mask element of it, the rest was a disaster!

I wore a black suit, black T-shirt and big black boots to try and get the full Frankenstein look from the first film which starred Boris Karloff as Frankenstein’s monster.

It has a slit in the back to help get it on so I didn’t have to cut one in which was good.  The mask is hard to get on and off but it isn’t too tight when it is on.  However, there are two moulded bits by the eyes inside that are a bit uncomfortable as they dig into the bridge of my nose a bit but I’m sure these could be softened somehow.  The eye holes are not that big to see through and I had to tilt my head up a bit to see better which is hard anyway with no glasses on like most overhead masks I can’t.  I also couldn’t wear my hearing aids meaning I couldn’t hear that great either.  Both these things are always annoying but it is what it is. 

As I mentioned above this costume was a disaster for me.  I had purchased four army green make-up pots (the closest colour I could get to match the mask and there were two for each arm) as I wasn’t sure how well they would spread.  It turned out I only needed one and, despite using make-up primer, it smudged on my fingers and palms.  It didn’t help I left it too late to do and wasn’t fully dry.  On top of that, I got it on my T-shirt and suit which meant I had to use a wet cloth to get it off but all it did was smudge in my clothes.  Every time I tried to get it off my clothes because the cloth was wet, my hands would be partly washed which meant adding more paint! This did give it a muddy clothes look so I suppose it looked OK but I was very annoyed it happened. 

I also brought FX modelling wax pot, fake blood, spirit gum glue and black cotton to achieve a scarred, sewn-on look around the wrists.  There wouldn’t have been enough wax to use so I didn’t bother with it, therefore there was no point using the cotton.  Anyway, I tried to cut a load of little threads and it was too thin and fiddly so I wouldn’t have been able to do it even if I wanted to with time flying by until I had to go out.

My boots were the biggest failure of the whole costume.  They were disability boots my brother-in-law Ken gave me and one was lower than the other meaning that less than a week before the party I had to build the one up to make them even looking.  I used about 1-inch polystyrene sheets for that, on one boot (to give it a bit more height) and more on the other to build it up to the same as the other one.  I used normal glue which dissolved the polystyrene sheets so I used no nails glue hoping it would dry in time for the party, IT DID NOT.  I used cardboard on them and super-glued a bit cut from tarpaulin to make souls and stop the polystyrene wrecking.  That made no difference because all my weight just squashed everything down, glue and all and it went everywhere, eventually losing the soles altogether.  The boots looked so crap and because of this I have cropped them off in the photos but you may see the odd bit of white.  I am a perfectionist when it comes to a lot of things I do including ideas I have and when they don’t turn out like it was in my head (they rarely do) I do get disheartened when these things happen but I try not to let them bring me down too much and I get on with it, that is how my life is.

The photos below were taken at Ayelsford Hall in Shard End.  I got ready at home and got a lift there from my Brother-In-Law Ken which was good because there was no way I was going to walk!

My sister Julie had to lock the door for me when we left mine and help put my phone and keys in my jacket pocket as my hands were painted green and I didn’t want them to smudge, ha ha.

The photos were taken on the 28th of October, 2023.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This version of Frankenstein’s monster is the original one played by Boris Karloff and the likeness is spot on.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The Frankenstein mask tag that came with it.

Image © Julie Shingler

My very cool Frankenstein mask.

Image © Julie Shingler
Image © Julie Shingler
Image © Julie Shingler
Image © Faye Libby
Image © Julie Shingler

Frankenstein’s monster.

Various poses of me in my Frankenstein costume.

Image © Julie Shingler

Frankenstein’s monster dancing.

Julie took a photo of me dancing, ha ha.

Image © Julie Shingler

Frankenstein’s monster drinking.

It is thirsty work being chased by a flame-wielding mob, ha ha.

This is me attempting to have a drink with my Frankenstein mask on.  I had to lift it up a bit making it look like I was drinking out my neck!

The mask doesn’t have a mouthpiece and I could have cut a little slit in it for using a straw but I didn’t want to spoil and risk (and possibly ruin) an expensive mask like this so I left it as it was.

Image © Faye Libby

Me and my sister Julie. 

Image © Julie Shingler

Me and my brother-in-law Ken.

Image © Faye Libby

Me, my sister Julie and niece Faye.

Image © Frank Parker
Image © Frank Parker

My Frankenstein boots.

It was a messy process modifying these boots (hence the glue inside them from my hands).  Here you can see my final effort of changing their look slightly BEFORE I wore them and they became ruined.

Blog Posts

Notes And Links

This page contains links that send you to Wikipedia and other websites and are subject to change. 

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5) 

The images above are copyright of Frank Parker unless stated. 

The Frankenstein mask and tag photos at the top of the page are copyright of Universal via Universal Studios and Trick Or Treat Studios.

The photos above of me in my Frankenstein mask and costume, me with my sister Julie and brother-in-law Ken are copyright of Julie Shingler.

The photos above of me and my sister Julie, me, my sister Julie and niece Faye and one of me as Frankenstein’s monster are copyright of Faye Libby.

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration.

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

Universal Pictures on Twitter.

Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Halloween Photos (Part 3)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors, in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest but I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

2021  (Continued) 

Click here for 2021 details.

Image © Frank Parker

Me and my sister Julie.  

Image © Julie Shingler

Me and my great nephew Billy.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

My cool Freddy Krueger Halloween costume.

I won the Best Costume award for this.  Thank you to my niece Faye for that and the bottle of Bucks Fizz and the cool cover it was in that she crocheted herself.

Image © Frank Parker

Hey You Guys!

The day after the Halloween party I tried on the mask my sister Yvonne gave me what she wore of Sloth from The Goonies.

It doesn’t exactly look like him and I can guarantee it did in the stock photo from where it was purchased from.

I happily had it to add to my mask collection as Yvonne was just going to throw it away!  It is another mask that is not full over the head so my glasses can be worn underneath it if I decide to wear it again which I doubt but I am always happy to receive anything free regarding horror, masks and Halloween costumes.  They are all appreciated.  

2022 

This was my fifth Halloween party and I wore my cool Werewolf costume.  Like the previous years, the quality of the mask was nothing like in the photo from the place I ordered it from but I wasn’t unhappy about it because it was very close and I enjoyed wearing it.  It was my fourth favourite Halloween costume since I started wearing Halloween costumes.

I ordered myself some slip-on werewolf feet, and werewolf gloves and, just like most masks in stock photos that you buy, these were not as good quality as them and I didn’t like how the feet slipped on over your shoes but it was the best I could find.  I wore a blooded shirt with it.  I got some fake fur to stick to my chest using titty tape, ha ha.  I made my own meaty blood and that was a laugh (see below) and I used a severed hand prop (which I rubbed in dirt and sprayed fake blood on it) to complete the scary look to it all.

This wasn’t the werewolf I wanted to go as originally.  I wanted to go as the Universal Classic Monsters The Wolf Man version from 1941, starring Lon Chaney Jnr.  However, there wasn’t a mask available for him so I thought I would try and get a look similar to my favourite werewolf film ever, An American Werewolf In London.  I saw a very cool mask that would have been cool but after reading a lot of reviews and seeing you really get a PATHETIC version of it, (no surprise there), I decided to go for a generic werewolf look.  It bothered me that everything I wore didn’t match the same shade of brown but regardless it was a costume I enjoyed wearing.  

Picture this scene.  I had recently been attacked and bitten by a werewolf but I managed to get away somehow.  The next night there was a full moon and I changed into a wolf man.  I run around outside to find someone to kill. A bloke sees me, panics and runs into some nearby muddy woods.  I attack him and he falls to the ground.  I grab his legs and drag him.  Screaming, he grabs any fallen trees and branches he can to stop himself from going any further.  Desperately clawing the ground, his dirty hands could not save him now).  I  pounce on him, bite his throat and chew on it, causing blood to soak my shirt.  I bite one of his dirty hands off before running off with it in my hand to find my next victim.  This was the inspiration for the look I wanted to achieve for this Halloween party. I have always had a great imagination since I was little! 

This was another tight mask meaning I couldn’t wear my glasses underneath making it hard to see (especially in the dark) but I could wear my hearing aids which is always good at noisy parties.  However, it was not as tight as three years ago and I didn’t have to cut a slit in the back of it like I did with that one but I still had trouble getting it on and off.  Out of all my masks, this was the one I sweated the most in.  I was very hot wearing this.  I did put baby talcum powder in it but it made no difference.

As mentioned above, the meaty blood I made (the night before) was a laugh because, oh boy, did it smell! 

I used fake blood in a jug and added ripped-up cotton balls, green and red food colouring and washing-up liquid to get the colour and constancy of blood-stained chewed-up meat.  I just couldn’t get it how I pictured it in my head. 

I added more cotton wool and put it in the microwave (not shown) thinking the heat would help thicken it but that was a disaster.  The whole lot overflowed and made my microwave look like a horror scene from a film!

I was either getting too light, or too dark by adding a bit of red and brown sauce to it, too watery or too thick, by adding shredded tissue to it.  I added sweet pickle so the chunks in it would make it look like chunks of flesh.  Eventually, I was sort of happy with what I had (and you can see in the photos of it in my mouth and hanging from it, it looked realistic) but as you can imagine it smelled very tangy indeed and it sure did make the car stink on the journey there and it was noticed by people at the party too.  Still, it made the whole experience very memorable, ha ha.

The photos below were taken at my sister Julie’s house where I got ready and at my nephew Wayne’s house on the 30th of October, 2022.

Image © Frank Parker

My cool werewolf Halloween costume.

Complete with meat in my mouth and hanging from my fur.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

My cool werewolf Halloween costume.

I had just got ready at Julie’s ready for the Halloween party.

Image © Julie Shingler
Image © Julie Shingler
Image © Julie Shingler
Image © Julie Shingler

My cool werewolf Halloween costume.

Image © Julie Shingler
Image © Julie Shingler

My cool werewolf Halloween costume.

It is thirsty work being a werewolf and killing people, ha ha.

Image © Julie Shingler

Me and my sister Julie. 

Image © Julie Shingler

Me and my great nephew Harley. 

Image © Frank Parker
Image © Frank Parker

Making fake bloodied meat. 

Image © Frank Parker

My cool werewolf Halloween mask.

The day after the Halloween party I washed my shirt and mask for keepsakes.  The wolf looks like he has had a stroke, ha ha.

Later that day I went to a kid’s get-together.  It wasn’t a Halloween party as such so I haven’t classed it as one. 

Anyway, I wasn’t sure what to wear so I cobbled an outfit together. I went as a devil.  I have had this mask for a long time.  my gloves were from my 2017 outfit and my cloak from the 2019 one. I already had the shrunken head (again from a long time ago as part of my horror collection).  This devil liked to shrink people’s heads, chop them off and keep them as souvenirs.

There’s that great imagination again!

The photos below were taken at my sister Julie’s house where I got ready on the 31st of October, 2022.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

My devil Halloween costume.

Blog Posts

Notes And Links

This page contains links that send you to Wikipedia and is subject to change.

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5)

The images above are copyright of Frank Parker unless stated.

The images above of me and my great nephew Billy, my cool werewolf Halloween costume and my sister Julie, and my great nephew Harley are copyright of Julie Shingler.

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Halloween Photos (Part 2)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors, in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest but I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

2019  

This was my third  Halloween party and I wore my cool Nosferatu Halloween costume. Like the previous years, the quality of the Count Orlok mask was nothing like in the photo from the place I ordered it from but I wasn’t unhappy about it because it was very close and I enjoyed wearing it.  It has been my second favourite Halloween costume since I started wearing them.

I ordered myself some false nails (slightly exaggerated to give my fingers a more bony, scary look), a cloak to wear with it and I wore a black shirt, black trousers and black shoes to try and get the old-fashioned look to it all.

The mask was bloody tight! I had to cut a slit in the back of it and I still had trouble getting it on and off.  I couldn’t wear my glasses underneath which annoys me as it means I can’t see much, especially when it gets dark.  It was tighter around my left eye and caused my eye to open more but this added to the scary look, ha ha.

The photos below was taken at my sister Julie’s house where I got ready and at my niece Faye’s house (where the party was) on the 26th of September, 2019.

You can watch the classic 1922 silent film classic Nosferatu below.

Image © Frank Parker

My very cool Nosferatu mask.

Image © Frank Parker

After I got ready for the Halloween party, and had this photo taken on my phone, I noticed (as you can see here) that the nail from my right-hand thumb was missing and I had white make up on my shirt.  That was annoying as it spoiled the photo a bit for me.

My great niece Lucy helped me look everywhere for it (bless her) and I eventually found it in the bathroom where I got ready.

Image © Frank Parker
Image © Frank Parker

Me (minus a nail on my thumb) and my sister Julie in our Halloween costumes.

Image © Frank Parker
Image © Frank Parker

My very cool Nosferatu Halloween costume.

Image © Frank Parker
Image © Frank Parker

Me and my sisters Cathy and Julie in our Halloween costumes.

Image © Frank Parker

Me, my sister Cathy and my niece Joanne in our Halloween costumes.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Me and my niece Joanne in our Halloween costumes.

Image © Frank Parker

My very cool Nosferatu Halloween costume.

Image © Frank Parker

Me and my sister Yvonne in our Halloween costumes.

Nosferatu 1922 Silent Film In Full

The 1922 silent film Nosferatu or to give its full title, Nosferatu: A Symphony Of Horror.  It starred Max Schreck as Count Orlok.

The scene where Nosferatu’s shadow goes up the stairway is a classic scene and it scared me when I was very young. I never watched all of the film until I was older.

2020

There was no Halloween party this year thanks to COVID (the less I say about a lot of bull shit regarding this the better.  That’s a topic for another day).  Me and my sisters, Julie, Cathy and Yvonne did a video call so I never bothered with a full Halloween costume, just this crap demon ripping through a face mask and a bloody t-shirt.  As ever quality of the mask was nothing like in the photo from the place I ordered it from and this was the most I had ever been unhappy I had ever been because it was nothing like what I thought I was going to get.  I wasn’t surprised though due to experience but I didnt think it was going to be this bad.  I added blood to it to try and make it look better but I never enjoyed wearing it one bit and was glad to take it off after the call.  It was my worst Halloween costume since I started wearing them.

The mask wasn’t too tight like my mask from the year before and I didn’t have to cut a slit in the back of it like that one. I could wear my glasses underneath this one which was pleasing.

The photo below was taken at my house on Halloween, 2019.

Image © Frank Parker

2021

This was my fourth  Halloween party and I wore my cool Freddy Krueger costume.  Like the previous years, the quality of the mask was nothing like in the photo from the place I ordered it from but I wasn’t unhappy about it because it was very close and I enjoyed wearing it.  It was my third favourite Halloween costume since I started wearing Halloween costumes.

I ordered myself a hat to wear with it and I wore Freddy’s famous stripey jumper and gloves, black trousers and black shoes to try and get the full A Nightmare On Elm Street look.  The film starred Robert Englund as Freddy Krueger.

The was another tight mask meaning I couldn’t wear my glasses underneath again or my hearing aids making it hard to see (especially in the dark) and hear.  However, it was not as tight as two years ago and I didn’t have to cut a slit in the back of it like I did with that one but I still had trouble getting it on and off. At least this one didn’t hurt my left eye, ha ha.

The photos below were taken at my sister Julie’s house where I also got ready on the 30th of September, 2019.

Image © Frank Parker

My cool Freddy Krueger mask. 

Image © Frank Parker
Image © Julie Shingler

My cool Freddy Krueger Halloween costume. 

Image © Frank Parker

My cool Freddy Krueger mask.  

Image © Julie Shingler
Image © Julie Shingler

Me, my niece Joanne, great nephew Archie and brother-in-law Ken. 

Image © Julie Shingler

My cool Freddy Krueger Halloween costume.

Even Freddy needs to check his phone now and then, ha ha.

Image © unknown
Image © unknown
Image © unknown

Me and my sister Julie. 

Whatever I said it made Julie laugh out load, ha ha.

Blog Posts

Notes And Links

This page contains links that send you to Wikipedia and is subject to change.

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5)

The images above are copyright of Frank Parker unless stated.

The images above of me in my cool Freddy Krueger Halloween costume and of me, my niece Joanne, great nephew Archie and brother-in-law Ken are copyright of Julie Shingler.

The images above of me and my sister Julie are unknown because I can’t remember who took them?!

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

The 1922 silent film Nosferatu is in the public domain.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Halloween Photos (Part 1)

Image ©Toby Ord via Wikipedia

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha.

Below are photos of Halloween celebrations of me and my family over the years. 

The quality of some of these photos is not the greatest but I have tried to enhance them the best I can but they are worth reminiscing about on here regardless.

1990’s

Happy times from back in the day.

I don’t know the exact date unfortunately of the following photos but it was in the 90’s.

Image © Frank Parker

My lovely son Frank Jnr and lovely daughter Debbie bobbing for apples. 

Image © Frank Parker

Frank Jnr and Debbie wearing Halloween masks.  

2017

The costume I wore this year was meant to be a zombie in grey clothes but it looked nothing like the photo I ordered it from.  Needless to say, I was not happy with it but I wore it anyway.  It wasn’t a full over-the-head mask so the only good thing about it was it wasn’t tight and I could wear my glasses underneath it which is good because it helps me see better, especially when it gets dark.  

Sadly I don’t have any other photos of it but I took it all to show Mom what I was wearing for the Halloween party at my sister Julie’s house that was in early November.

This was the first Halloween party I had ever been invited to.

This photo was taken at my mom’s bungalow on the 17th of October, 2017.

Image © Frank Parker

My lovely mom wearing the mask from my Halloween costume.

 

This wonderful photo of Mom’s fantastic smile was taken on the 3rd of November, 2017.

Image © Frank Parker

Mom wearing her Halloween costume at a 2017 Halloween party. 

Fireworks taken on the 3rd of November, 2017.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Fireworks at a 2017 Halloween party.

Tyler loved watching the fireworks.

Image © Frank Parker
Image © Frank Parker

My lovely grandson Tyler enjoyed the fireworks with his auntie Julie, his daddy and auntie Cathy at a 2017 Halloween party.   

Image © Frank Parker
Image © Frank Parker

Tyler enjoyed the fireworks with his auntie Julie at a 2017 Halloween party. 

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Tyler enjoyed the fireworks with his auntie Cathy at a 2017 Halloween party.

Image © Frank Parker
Image © Frank Parker

Tyler enjoyed the fireworks at a 2017 Halloween party.

2018

This is my scary pumpkin man Halloween costume and, like the previous year, the quality of it was nothing like in the photo from the place I ordered it from.  Again I wasn’t happy about that but it was close so I felt OK wearing it and, due to it not being a full over-the-head mask again, it wasn’t tight and I could wear my glasses underneath it again which is as good as ever because it helps me see better, especially when it gets dark.  

I wore it with black trousers and used a severed hand prop (not shown) to complete the scary look to it all.

This was my second Halloween party but sadly I have no photos from it.

The photos below were taken at my house on the 27th of September, 2018 before we went to the Halloween party at my niece Joanne’s house.

Image © Frank Parker

My lovely granddaughter Kasey and me wearing our Halloween costumes before a 2018 Halloween party.

Image © Frank Parker
Image © Frank Parker
Image © Frank Parker

Kasey proudly showed off her Halloween costume and bag before a 2018 Halloween party. 

Image © Frank Parker

Kasey was very pleased with her Halloween nails before a 2018 Halloween party. 

Kasey loved stopping at mine over the Halloween holiday in 2018.

The photos below were taken on Halloween, 2018.

Image © Frank Parker
Image © Frank Parker

Kasey loved her Build-A-Bear wig and her visit to McDonald’s.

My lovely Dog Rosie looks like Donald Trump below, ha ha.

Image © Frank Parker
Image © Frank Parker

Rosie joined in with the Halloween holiday fun in 2018 wearing Kasey’s Build-A-Bear wig.

Blog Posts

Notes And Links

This page contains a link that sends you to Wikipedia and is subject to change.

The image shown above of a carved pumpkin is the copyright of Wikipedia user Toby Ord.  It comes with a Creative Commons licence (CC BY-SA 2.5).

The images above are copyright of Frank Parker. 

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.  

Christmas: A Christmas Carol By Charles Dickens – Screen Versions

Image © of Liliboas via iStock

I LOVE A CHRISTMAS CAROL!

Obviously, the original book is the best version of any format because it is the original source material but as long as other versions stick close to that source then I will more than likely enjoy it.

Below are just some of the MANY film and TV versions out there for your viewing pleasure.  Enjoy.

Read more about A Christmas Carol here

1900’s

I haven’t watched this version but I have included it as it is a silent movie piece of history and the earliest screen version that was made.

Read more about Scrooge, or, Marley’s Ghost (1901), starring Daniel Smith, here.

1910’s

Another version I  haven’t watched but again I have included it as it is a silent movie piece of history.  This one was made in America by the Edison Film Company and is the second earliest screen version after Scrooge, or, Marley’s Ghost (1901)  

Read more about A Christmas Carol (1910), starring Marc McDermott, here.

1930’s

Another version I haven’t watched but I have included it as it is a very early screen version.

Read more about Scrooge (1935), starring Seymour Hicks, here.

1950’s

This is a great screen version.

Read more about Scrooge (1951), starring Alastair Sim, here.

1970’s

This is my all-time favourite screen version and always brings fond memories of my Mom as we watched this every year together.

Read more about Scrooge (1970, starring Albert Finney, here.

This is a good screen-animated version. 

Read more about A Christmas Carol (1971), starring Alastair Sim, here.

1980’s

This is a great screen version.

Read more about A Christmas Carol (1984), starring George C. Scott, here.

1990’s

This is a great screen version.

Read more about A Christmas Carol (1999), starring Patrick Stewart, here.

Blog Posts

Notes And Links

Liliboas on iStock.  The image shown at the top of this page of a Christmas tree and presents is the copyright of Liliboas.  You can find more great work from the photographer Lili and lots more free stock photos at iStock.

Charles Dickens Museum – Official website.  The museum is situated at 48 Doughty Street, Dickens’s London home from 1837-1839.  He moved there with his wife Catherine and their eldest son Charlie.   After the Dickenses left Doughty Street, the property was largely used as a boarding house until the Dickens Fellowship purchased it as their headquarters in 1923.  The house opened to the public in 1925 and houses a significant collection linked to Dickens and his works. 

Today the Charles Dickens Museum is set up as though Dickens himself had just left.  It appears as a fairly typical middle-class Victorian home, complete with furnishings, portraits and decorations which are known to have belonged to Dickens.  A visit to the museum allows you to step back into 1837 and to see a world which is at once both intimately familiar, yet astonishingly different.  A world in which one of the greatest writers in the English language, found his inspiration. 

Charles Dickens Museum official Facebook page.

Charles Dickens Museum official Twitter page.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

All videos are via YouTube and their copyright belongs to whoever. 

Books: A Christmas Carol By Charles Dickens

A Christmas Carol 1843 first edition front cover via Project Gutenberg

This original illustration by John Leech is from the 1843 edition and is in the public domain. 

If you really know me well then you will know that Charles Dickens is my favourite author and A Christmas Carol is my favourite book by him.  I LOVE IT.

I have film and TV versions on DVD.  I have books of it.  I have it via a e-book and audiobook too. I can’t get enough of it.  Obviously the original book is the best because it is the original source material but as long as other versions  sticks close to that source then I will more than likely enjoy it.

Dickens changed the face of Christmas and made it into what we know it is today.  He has inspired many writers, myself included.  If I could jump in a time machine I would go back to Victorian times on Christmas Day and shake his hand and say thank you Charles for everything you have done and MERRY CHRISTMAS!

Read this book online, and get more download options and a bibliographic record on Project Gutenberg by clicking here.

For screen versions click here.

Listen to Neil Gaiman, via Open Culture,  read A Christmas Carol just like Charles Dickens read it by clicking here.

Below is the 1939 radio play to listen to that features not one old star legend but two, the late greats Lionel Barrymore and Orson Wells. 

About A Christmas Carol

A Christmas Carol 1843 first edition front cover: This original illustration by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

A Christmas Carol.  In Prose.  Being a Ghost Story of Christmas, commonly known as A Christmas Carol, is a novella by Charles Dickens, first published in London by Chapman & Hall in 1843 and illustrated by John Leech.  A Christmas Carol recounts the story of Ebenezer Scrooge, an elderly miser who is visited by the ghost of his former business partner Jacob Marley and the spirits of Christmas Past, Present and Yet to Come.  After their visits, Scrooge is transformed into a kinder, gentler man.

Dickens wrote A Christmas Carol during a period when the British were exploring and re-evaluating past Christmas traditions, including carols, and newer customs such as cards and Christmas trees.  He was influenced by the experiences of his own youth and by the Christmas stories of other authors, including Washington Irving and Douglas Jerrold.  Dickens had written three Christmas stories prior to the novella and was inspired following a visit to the Field Lane Ragged School, one of several establishments for London’s street children.  The treatment of the poor and the ability of a selfish man to redeem himself by transforming into a more sympathetic character are the key themes of the story.  There is discussion among academics as to whether this is a fully secular story, or if it is a Christian allegory.

Published on the 19th of December, the first edition sold out by Christmas Eve.  By the end of 1844 thirteen editions had been released.  Most critics reviewed the novella favourably.  The story was illicitly copied in January 1844 and Dickens took legal action against the publishers, who went bankrupt, further reducing Dickens’s small profits from the publication.  He went on to write four other Christmas stories in subsequent years.  In 1849 he began public readings of the story, which proved so successful he undertook 127 further performances until 1870, the year of his death.  A Christmas Carol has never been out of print and has been translated into several languages.  The story has been adapted many times for film, stage, opera and other media.

A Christmas Carol captured the zeitgeist of the mid-Victorian revival of the Christmas holiday.  Dickens had acknowledged the influence of the modern Western observance of Christmas and later inspired several aspects of Christmas, including family gatherings, seasonal food and drink, dancing, games and a festive generosity of spirit.

1843 first edition title page: This original illustration by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Charles Dickens (in 1842, the year before the publication of A Christmas Carol) by Francis Alexander. Image via Wikipedia
John Leech by unknown is in the public domain. Image via Wikipedia

Characters

The central character of A Christmas Carol is Ebenezer Scrooge, a miserly London-based businessman, described in the story as “a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner!” Richard Michael Kelly, from Broadway Press noted that Scrooge may have been influenced by Dickens’s conflicting feelings for his father, whom he both loved and demonised.  This psychological conflict may be responsible for the two radically different Scrooges in the tale (one a cold, stingy and greedy semi-recluse, the other a benevolent, sociable man).  The professor of English literature Robert Douglas-Fairhurst considers that in the opening part of the book covering young Scrooge’s lonely and unhappy childhood, and his aspiration for money to avoid poverty “is something of a self-parody of Dickens’s fears about himself”.   The post-transformation parts of the book are how Dickens optimistically sees himself.

Scrooge could also be based on two misers.  One being the eccentric John Elwes, M.P. or Jemmy Wood, the owner of the Gloucester Old Bank and also known as The Gloucester Miser.  According to the sociologist Frank W. Elwell, Scrooge’s views on the poor are a reflection of those of the demographer and political economist Thomas Malthus, while the miser’s questions “Are there no prisons? … And the Union workhouses? … The treadmill and the Poor Law are in full vigour, then?” are a reflection of a sarcastic question raised by the philosopher Thomas Carlyle, “Are there not treadmills, gibbets; even hospitals, poor-rates, New Poor-Law?”

There are literary precursors for Scrooge in Dickens’s own works. Peter Ackroyd, Dickens’s biographer, sees similarities between the character and the elder Martin Chuzzlewit character, although the miser is “a more fantastic image” than the Chuzzlewit patriarch.  Ackroyd observes that Chuzzlewit’s transformation to a charitable figure is a parallel to that of the miser.  Douglas-Fairhurst sees that the minor character Gabriel Grub from The Pickwick Papers was also an influence when creating Scrooge.  It is possible that Scrooge’s name came from a tombstone Dickens had seen on a visit to Edinburgh.  The grave was for Ebenezer Lennox Scroggie, whose job was given as a meal man (a corn merchant).  Dickens misread the inscription as mean man.  This theory has been described as a probable Dickens hoax for which no one could find any corroborating evidence.

When Dickens was young he lived near a tradesman’s premises with the sign Goodge and Marney, which may have provided the name for Scrooge’s former business partner.  For the chained Marley, Dickens drew on his memory of a visit to the Western Penitentiary in Pittsburgh, Pennsylvania, in March 1842, where he saw, and was affected by seeing fettered prisoners.  For the character Tiny Tim, Dickens used his nephew Henry, a disabled boy who was five at the time A Christmas Carol was written.  The two figures of Want and Ignorance, sheltering in the robes of the Ghost of Christmas Present, were inspired by the children Dickens had seen on his visit to a ragged school in the East End of London. 

John Elwes by John Meggot Elwes is in the public domain. Image via Wikipedia

Reception

The transformation of Scrooge is central to the story.  Writer Paul Davis considers Scrooge to be “a protean figure always in process of reformation”.  Michael Kelly writes that the transformation is reflected in the description of Scrooge, who begins as a two-dimensional character, but who then grows into one who “possesses an emotional depth and a regret for lost opportunities”.  Some writers, including Grace Moore, the Dickens scholar, consider that there is a Christian theme running through A Christmas Carol, and that the novella should be seen as an allegory of the Christian concept of redemption.  Dickens’s biographer, Claire Tomalin, sees the conversion of Scrooge as carrying the Christian message that “even the worst of sinners may repent and become a good man”.  Dickens’s attitudes towards organised religion were complex.  He based his beliefs and principles on the New Testament.  Dickens’s statement that Marley “had no bowels” is a reference to the bowels of compassion mentioned in the First Epistle of John, the reason for his eternal damnation.

Other writers, including Kelly, consider that Dickens put forward a “secular vision of this sacred holiday”.  The Dickens scholar John O. Jordan argues that A Christmas Carol shows what Dickens referred to in a letter to his friend John Forster as his “Carol philosophy, cheerful views, sharp anatomisation of humbug, jolly good temper … and a vein of glowing, hearty, generous, mirthful, beaming reference in everything to Home and Fireside”.  From a secular viewpoint, the cultural historian Penne Restad suggests that Scrooge’s redemption underscores “the conservative, individualistic and patriarchal aspects” of Dickens’s “Carol philosophy” of charity and altruism.

Dickens wrote A Christmas Carol in response to British social attitudes towards poverty, particularly child poverty, and wished to use the novella as a means to put forward his arguments against it.  The story shows Scrooge as a paradigm for self-interest, and the possible repercussions of ignoring the poor, especially children in poverty (personified by the allegorical figures of Want and Ignorance).  The two figures were created to arouse sympathy with readers, as was Tiny Tim.  Douglas-Fairhurst observes that the use of such figures allowed Dickens to present his message of the need for charity, without alienating his largely middle-class readership.

William Makepeace Thackeray by unknown is in the public domain. Image via Wikipedia

The Plot

The book is divided into five chapters, which Dickens titled staves.

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

Stave One

A Christmas Carol opens on a bleak, cold Christmas Eve in London, seven years after the death of Ebenezer Scrooge’s business partner, Jacob Marley.  Scrooge, an ageing miser, dislikes Christmas and refuses a dinner invitation from his nephew Fred (the son of Fan, Scrooge’s dead sister).  He turns away two men who seek a donation from him to provide food and heating for the poor and only grudgingly allows his overworked, underpaid clerk, Bob Cratchit, Christmas Day off with pay to conform to the social custom.

That night Scrooge is visited at home by Marley’s ghost, who wanders the Earth entwined by heavy chains and money boxes forged during a lifetime of greed and selfishness.  Marley tells Scrooge that he has a single chance to avoid the same fate and he will be visited by three spirits.  He must listen to them or be cursed to carry much heavier chains of his own.

Marley's Ghost: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Wretched woman with an infant: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Stave Two

The first spirit, the Ghost of Christmas Past, takes Scrooge to the Christmas scenes of Scrooge’s boyhood, reminding him of a time when he was more innocent.  The scenes reveal Scrooge’s lonely childhood at boarding school, his relationship with his beloved sister Fan, and a Christmas party hosted by his first employer, Mr Fezziwig, who treated him like a son.  Scrooge’s neglected fiancée Belle is shown ending their relationship, as she realises that he will never love her as much as he loves money.  Finally, they visit a now-married Belle with her large, happy family on the Christmas Eve that Marley died.  Scrooge, upset by hearing Belle’s description of the man that he has become, demands that the ghost remove him from the house.

Mr. Fezziwig’s Ball: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
The Ghost of Christmas Past gets extinguished by Scrooge: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Stave Three

The second spirit, the Ghost of Christmas Present, takes Scrooge to a joyous market with people buying the makings of Christmas dinner.  The Ghost then takes Scrooge to Bob Cratchit’s family feast and introduces his youngest son, Tiny Tim, a happy boy who is seriously ill.  The spirit informs Scrooge that Tiny Tim will die unless the course of events changes.  Afterwards, the spirit and Scrooge travel to celebrations of Christmas in a miner’s cottage, in a lighthouse, and on a ship at sea.  Scrooge and the ghost then visit Fred’s Christmas party.  Before disappearing, the spirit shows Scrooge two hideous, emaciated children named Ignorance and Want.  He tells Scrooge to beware them and mocks Scrooge’s concern for their welfare.

Scrooge’s Third Visitor: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Ignorance and Want: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Stave Four

The third spirit, the Ghost of Christmas Yet to Come, shows Scrooge a Christmas Day in the future.  The silent ghost reveals scenes involving the death of a disliked man whose funeral is attended by local businessmen only on condition that lunch is provided.  His charwoman, laundress and the local undertaker steal his possessions to sell to a fence.  When he asks the spirit to show a single person who feels emotion over his death, he is only given the pleasure of a poor couple who rejoice that his death gives them more time to put their finances in order.  When Scrooge asks to see tenderness connected with any death, the ghost shows him Bob Cratchit and his family mourning the death of Tiny Tim.  The ghost then allows Scrooge to see a neglected grave, with a tombstone bearing Scrooge’s name.  Sobbing, Scrooge pledges to change his ways.

Stave Five

Scrooge awakens on Christmas morning a changed man.  He makes a large donation to the charity he rejected the previous day, anonymously sends a large turkey to the Cratchit home for Christmas dinner and spends the afternoon with Fred’s family.  The following day he gives Cratchit an increase in pay, and begins to become a father figure to Tiny Tim.  From then on Scrooge treats everyone with kindness, generosity and compassion, embodying the spirit of Christmas.

The Last of the Spirits: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Scrooge and Bob Cratchit celebrate Christmas: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Publication

As the result of the disagreements with Chapman and Hall over the commercial failures of Martin Chuzzlewit, Dickens arranged to pay for the publishing himself, in exchange for a percentage of the profits.  Production of A Christmas Carol was not without problems.  The first printing contained drab olive endpapers that Dickens felt were unacceptable, and the publisher Chapman and Hall quickly replaced them with yellow endpapers, but, once replaced, those clashed with the title page, which was then redone.  The final product was bound in red cloth with gilt-edged pages, completed only two days before the publication date of the 19th of December 1843.  Following publication, Dickens arranged for the manuscript to be bound in red Morocco leather and presented as a gift to his solicitor, Thomas Mitton.

Priced at five shillings (equal to £26 in 2022 pounds), the first run of 6,000 copies sold out by Christmas Eve.  Chapman and Hall issued second and third editions before the new year, and the book continued to sell well into 1844.  By the end of 1844 eleven more editions had been released.  Since its initial publication the book has been issued in numerous hardback and paperback editions, translated into several languages and has never been out of print.  It was Dickens’s most popular book in the United States, and sold over two million copies in the hundred years following its first publication there.

The high production costs upon which Dickens insisted led to reduced profits, and the first edition brought him only £230 (equal to £24,000 in 2022 pounds)  rather than the £1,000 (equal to £104,000 in 2022 pounds) he expected.  A year later, the profits were only £744, and Dickens was deeply disappointed.

Reception

According to Douglas-Fairhurst, contemporary reviews of A Christmas Carol “were almost uniformly kind”.  The Illustrated London News described how the story’s “impressive eloquence… its unfeigned lightness of heart… its playful and sparkling humour… its gentle spirit of humanity” all put the reader “in good humour with ourselves, with each other, with the season and with the author”.  The critic from The Athenaeum, the literary magazine, considered it a “tale to make the reader laugh and cry… to open his hands, and open his heart to charity even toward the uncharitable… a dainty dish to set before a King.”  William Makepeace Thackeray, writing in Fraser’s Magazine, described the book as “a national benefit and to every man or woman who reads it, a personal kindness.  The last two people I heard speak of it were women; neither knew the other, or the author, and both said, by way of criticism, ‘God bless him!'”

The poet Thomas Hood, in his own journal, wrote that “If Christmas, with its ancient and hospitable customs, its social and charitable observances, were ever in danger of decay, this is the book that would give them a new lease.”  The reviewer for Tait’s Edinburgh Magazine Theodore Martin, who was usually critical of Dickens’s work spoke well of A Christmas Carol, noting it was “a noble book, finely felt and calculated to work much social good”.  After Dickens’s death, Margaret Oliphant deplored the turkey and plum pudding aspects of the book but admitted that in the days of its first publication it was regarded as “a new gospel”, and noted that the book was unique in that it made people behave better.  The religious press generally ignored the tale but, in January 1884, Christian Remembrancer thought the tale’s old and hackneyed subject was treated in an original way and praised the author’s sense of humour and pathos.  The writer and social thinker John Ruskin told a friend that he thought Dickens had taken the religion from Christmas, and had imagined it as “mistletoe and pudding, neither resurrection from the dead, nor rising of new stars, nor teaching of wise men, nor shepherds”.

There were critics of the book. The New Monthly Magazine praised the story, but thought the book’s physical excesses, the gilt edges and expensive binding, kept the price high, making it unavailable to the poor.  The review recommended that the tale should be printed on cheap paper and priced accordingly.  An unnamed writer for The Westminster Review mocked Dickens’s grasp of economics, asking “Who went without turkey and punch in order that Bob Cratchit might get them for, unless there were turkeys and punch in surplus, someone must go without”.

Following criticism of the US in American Notes and Martin Chuzzlewit, American readers were less enthusiastic at first, but by the end of the American Civil War, copies of the book were in wide circulation.  In 1863 The New York Times published an enthusiastic review, noting that the author brought the “old Christmas… of bygone centuries and remote manor houses, into the living rooms of the poor of today”.

Aftermath

In January 1844 Parley’s Illuminated Library published an unauthorised version of the story in a condensed form which they sold for twopence.  Dickens wrote to his solicitor and said. “I have not the least doubt that if these Vagabonds can be stopped they must… Let us be the sledge-hammer in this, or I shall be beset by hundreds of the same crew when I come out with a long story.”

Two days after the release of the Parley version, Dickens sued on the basis of copyright infringement and won.  The publishers declared themselves bankrupt and Dickens was left to pay £700 in costs.  The small profits Dickens earned from A Christmas Carol further strained his relationship with his publishers, and he broke with them in favour of Bradbury and Evans, who had been printing his works to that point.

Dickens returned to the tale several times during his life to amend the phrasing and punctuation.  He capitalised on the success of the book by publishing other Christmas stories: The Chimes (1844), The Cricket on the Hearth (1845), The Battle of Life (1846) and The Haunted Man and the Ghost’s Bargain (1848).  These were secular conversion tales which acknowledged the progressive societal changes of the previous year, and highlighted those social problems which still needed to be addressed.  While the public eagerly bought the later books, the reviewers were highly critical of the stories.

Performances And Adaptations

By 1849 Dickens was engaged with David Copperfield and had neither the time nor the inclination to produce another Christmas book.  He decided the best way to reach his audience with his Carol philosophy was by public readings.  During Christmas 1853 Dickens gave a reading in Birmingham Town Hall to the Industrial and Literary Institute. The performance was a great success.  Thereafter, he read the tale in an abbreviated version 127 times, until 1870 (the year of his death), including at his farewell performance.

In the years following the book’s publication, responses to the tale were published by W. M. Swepstone (Christmas Shadows, 1850), Horatio Alger (Job Warner’s Christmas, 1863), Louisa May Alcott (A Christmas Dream, and How It Came True, 1882), and others who followed Scrooge’s life as a reformed man, or some who thought Dickens had got it wrong and needed to be corrected.

The novella was adapted for the stage almost immediately.  Three productions opened on the 5th of February 1844, one by Edward Stirling being sanctioned by Dickens and running for more than 40 nights.  By the close of February 1844 eight rival A Christmas Carol theatrical productions were playing in London.  The story has been adapted for film and television more than any of Dickens’s other works.  In 1901 it was produced as Scrooge, or, Marley’s Ghost, a silent black-and-white British film.  It was one of the first known adaptations of a Dickens work on film, but it is now largely lost.  The story was adapted in 1923 for BBC radio.  The story has been adapted to other media, including opera, ballet, animation, stage musicals and a BBC mime production starring Marcel Marceau.

Davis considers the adaptations have become better remembered than the original.  Some of Dickens’s scenes, such as visiting the miners and lighthouse keepers, have been forgotten by many, while other events often added, such as Scrooge visiting the Cratchits on Christmas Day are now thought by many to be part of the original story.  Accordingly, Davis distinguishes between the original text and the “remembered version”.

Read more here.

Charles Dickens’ hand-edited copy of A Christmas Carol. Image via Open Culture
Charles Dickens’ hand-edited copy of A Christmas Carol. Image via Open Culture

You can read more about Charles Dickens’ hand-edited copy of A Christmas Carol here.

Legacy

The phrase Merry Christmas had been around for many years. The earliest known written use was in a letter in 1534 but Dickens’s use of the phrase in A Christmas Carol popularised it among the Victorian public.  The exclamation Bah! Humbug! entered popular use in the English language as a retort to anything sentimental or overly festive. The name Scrooge became used as a designation for a miser and was added to the Oxford English Dictionary as such in 1982

In the early 19th century the celebration of Christmas was associated in Britain with the countryside and peasant revels, disconnected to the increasing urbanisation and industrialisation taking place.  Davis considers that in A Christmas Carol, Dickens showed that Christmas could be celebrated in towns and cities, despite increasing modernisation.  The modern observance of Christmas in English-speaking countries is largely the result of a mid-Victorian revival of the holiday.  The Oxford Movement of the 1830’s and 1840’s had produced a resurgence of the traditional rituals and religious observances associated with Christmastide and, with A Christmas Carol, Dickens captured the zeitgeist while he reflected and reinforced his vision of Christmas.

Dickens advocated a humanitarian focus of the holiday, which influenced several aspects of Christmas that are still celebrated in Western culture, such as family gatherings, seasonal food and drink, dancing, games and a festive generosity of spirit.  The historian Ronald Hutton writes that Dickens “linked worship and feasting, within a context of social reconciliation”.

The novelist William Dean Howells, analysing several of Dickens’s Christmas stories, including A Christmas Carol, considered that by 1891 the “pathos appears false and strained; the humor largely horseplay; the characters theatrical; the joviality pumped; the psychology commonplace; the sociology alone funny”.   The writer James Joyce considered that Dickens took a childish approach with A Christmas Carol, producing a gap between the naïve optimism of the story and the realities of life at the time.

Ruth Glancy, the professor of English literature, states that the largest impact of A Christmas Carol was the influence felt by individual readers.  In early 1844 The Gentleman’s Magazine attributed a rise of charitable giving in Britain to Dickens’s novella.  In 1874, Robert Louis Stevenson, after reading Dickens’s Christmas books, vowed to give generously to those in need, and Thomas Carlyle expressed a generous hospitality by hosting two Christmas dinners after reading the book.  In 1867 one American businessman was so moved by attending a reading that he closed his factory on Christmas Day and sent every employee a turkey, while in the early years of the 20th century Maud of Wales (the Queen of Norway) sent gifts to London’s crippled children signed “With Tiny Tim’s Love”.  On the novella, the author G. K. Chesterton wrote “The beauty and blessing of the story… lie in the great furnace of real happiness that glows through Scrooge and everything around him… Whether the Christmas visions would or would not convert Scrooge, they convert us.”

Analysing the changes made to adaptations over time, Davis sees changes to the focus of the story and its characters to reflect mainstream thinking of the period.  While Dickens’s Victorian audiences would have viewed the tale as a spiritual but secular parable, in the early 20th century it became a children’s story, read by parents who remembered their parents reading it when they were younger.  In the lead-up to and during the Great Depression, Davis suggests that while some saw the story as a “denunciation of capitalism…most read it as a way to escape oppressive economic realities”.  The film versions of the 1930’s were different in the UK and US.  British-made films showed a traditional telling of the story, while US-made works showed Cratchit in a more central role, escaping the depression caused by European bankers and celebrating what Davis calls “the Christmas of the common man”.  In the 1960’s, Scrooge was sometimes portrayed as a Freudian figure wrestling with his past.  By the 1980’s he was again set in a world of depression and economic uncertainty.

Read more here

Blog Posts

Notes And Links

The images above are in the Public Domain via Wikipedia and Project Gutenberg.

Charles Dickens Museum – Official website.  The museum is situated at 48 Doughty Street, Dickens’s London home from 1837-1839.  He moved there with his wife Catherine and their eldest son Charlie.   After the Dickenses left Doughty Street, the property was largely used as a boarding house until the Dickens Fellowship purchased it as their headquarters in 1923.  The house opened to the public in 1925 and houses a significant collection linked to Dickens and his works. 

Today the Charles Dickens Museum is set up as though Dickens himself had just left.  It appears as a fairly typical middle-class Victorian home, complete with furnishings, portraits and decorations which are known to have belonged to Dickens.  A visit to the museum allows you to step back into 1837 and to see a world which is at once both intimately familiar, yet astonishingly different.  A world in which one of the greatest writers in the English language, found his inspiration. 

Charles Dickens Museum official Facebook page.

Charles Dickens Museum official Twitter page.

Project Gutenberg – Official website.  Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

Open Culture – Official website.  Open Culture scours the web for the best educational media.  They find the free courses and audio books you need, the language lessons and educational videos you want, and plenty of enlightenment in between.

E-Books: Free Horror E-Books

Image © of BruceEmmerling via Pixabay

In the Index below is a selection of FREE Horror E-Books for your reading pleasure.

They come in PDF format and if you don’t have a PDF reader you can download one from here.  To get Epub and Kindle format versions become a member of Free-ebooks.net by clicking the link below.

Free Horror E-Books Index

Dracula by Bram Stoker.  Count Dracula is a vampire who terrifies the countryside in his quest for human blood, but the residents soon learn his real identity and vow to destroy him.

The Phantom Of The Opera by Gaston Leroux.  A disfigured musical genius haunts the catacombs under the Paris Opera and terrifies the community until he falls in love with Christine, a budding young singer. 

Blog Posts

Notes And Links

BruceEmmerling on Pixabay – The image shown at the top of this page is the copyright of BruceEmmerling.  You can find more great work from the photographer Bruce and lots more free stock photo’s at Pixabay.

Free-eBooks.net – Official website.  Free-eBooks.net is the internet’s number one source for free e-book downloads, e-book resources & e-book authors.  Read and download e-books for FREE – anytime. 

Use the link above to sign up and enjoy five free e-books each and every month with a Standard Account or upgrade to V.I.P. status for unlimited e-book and audiobook downloads.  

Universal Classic Monsters

Image © of Universal Pictures via Wikipedia

Ever since I was little I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them, ha ha.  That changed the older I got. 

When Halloween comes around you can be sure someone is wearing an Halloween costume that relates to one of the classic monsters mentioned below.

There will be more references to Universal Classic Monsters in the appropriate Decades sections and articles via the Horror index below.

Universal Classic Monsters

Universal Classic Monsters (also known as Universal Monsters and Universal Studios Monsters) is a media franchise based on a series of horror films primarily produced by Universal Pictures from the 1930s to the 1950s.  Although not initially conceived as a franchise, the enduring popularity and legacy of the films and the characters featured in them have led the studio to market them under the collective brand name of Universal Studios Monsters.  Steve Jones of USA Today described Universal’s most famous monsters as pop culture icons, specifically Dracula, Frankenstein, The Mummy and The Wolf Man.

Universal Pictures image from the Internet Archive via Wikipedia and is in the public domain

Bela Lugosi as Dracula.

This is a screenshot from the Internet Archive of the classic 1931 film Dracula.  You can see the trailer it came from here

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as The Mummy.

This is a screenshot from the Internet Archive of the classic 1932 film The Mummy.  You can see the trailer it came from here

Universal Pictures image via IMDb

Boris Karloff as Frankenstein’s Monster.

Directed by James Whale.

You can see the trailer for the classic Frankenstein film from 1931 via The Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain

Lon Chaney Jnr. as The Wolf Man.

This promotional photo is from the classic1941 film The Wolf Man.

You can see the trailer for The Wolf Man via The Internet Archive here.

See more photos and relevant information further down below.

Universal Monsters Films 

For an extensive list of Universal Monsters Films click here.

Universal Monsters Films Free To Watch

Below are just some of the great Universal Monsters films for you to enjoy.

They are not all classic films to me but if I have watched one and I think it is I will say so.

The Phantom Of The Opera 1925 Silent Film In Full

Watch the classic 1925 silent film The Phantom Of The Opera starring Lon Chaney via The Internet Archive here.

See information about this classic film further down at the top of the page.

Dracula 1931 In Full

Watch the classic 1931 film Dracula starring Bela Lugosi via The Internet Archive here.

See information about this classic film at the top of the page.

Frankenstein 1931 In Full

Watch the classic 1931 film Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Mummy 1932 In Full

Watch the classic 1932 film The Mummy starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Invisible Man 1933 In Full

Watch the classic 1933 film The Invisible Man starring Claude Rains via The Internet Archive here.

See information about this classic film further down at the bottom of the page.

The Bride Of Frankenstein 1935 In Full

Watch the 1935 film The Bride Of Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this film further down at the bottom of the page.

Frankenstein Meets The Wolf Man 1942 In Full

Watch the 1942 film Frankenstein Meets The Wolf Man starring Boris Karloff and Lon Chaney Jnr via The Internet Archive here.

See information about this film further down at the bottom of the page.

Universal Classic Monsters Home Video 

Image © of Universal Pictures via Wikipedia

Universal Classic Monsters logo.

This is the official franchise logo as displayed on home video releases

Louis Feola was the head of Worldwide Home Video for Universal Studios and said in 1999 that “a couple of years ago” he decided to “reinvigorate and re-market” Universal’s Classic Monsters catalogue which included the series Dracula, Frankenstein, The Invisible Man, The Phantom of the Opera, The Wolf Man, and The Mummy.  In 1992, in an interview with Billboard, Feola stated that to market and sell home video, the most important thing was the packaging of their sales which was “probably our single biggest priority and has been for a number of years”, and that it was key to make the series of films “look like a line”.

In 1995, MCA/Universal released a collection of the film on home video under the title The Universal Studios Monsters Classic Collection.  This series included Frankenstein, Dracula, The Mummy, The Invisible Man, and The Creature From the Black Lagoon series.  A collection of stamps featuring Universal Classic Monsters was also released in September 1997 titled the Universal Classic Movie Monsters series.  Other characters included in the series included the Mummy and Frankenstein’s monster, both played by Boris Karloff), the Phantom of the Opera played by Lon Chaney and the Wolf Man played by Lon Chaney Jnr.

Universal Classic Monsters Merchandising

After the Universal horror films were syndicated to television, this led to a rise in the popularity of merchandise based on Frankenstein’s monster and Dracula.  Throughout the 1960s and into the 1970s, the Universal monsters were promoted via merchandising which included: Halloween costumes, Aurora model kits, paperback novelizations, makeup how-to manuals, T-shirt iron-ons, posters, trading cards, and more.  Since 1991, Halloween Horror Nights at Universal Parks & Resorts have featured characters from the Universal Classic Monsters franchise.  From 2006 to 2014, the characters also appeared in the year-round walk-through attraction, Universal’s House of Horrors, at Universal Studios Hollywood.  The franchise is also the central theme of Universal’s Horror Make-Up Show.  The live show opened in 1990 at Universal Studios Florida and is still in operation.  Merchandising of the characters in formats such as clothing and board games has continued into the 21st century.

Universal Monsters Comics

Dark Horse Comics

You can read more about Dark Horse Comics here

Dark Horse Comics released comic adaptions of several of the films, featuring four one-shots and one collected edition, in 1993 and 2006, respectively.  

You can see which comics Dark Horse Comics produced here.

Skybound Entertainment 

You can read more about Skybound Entertainment here.

Skybound Entertainment, an Image Comics company, will publish a new series of Universal Monsters comic books.

You can read more about Image Comics here.

You can see which comics Skybound Entertainment produced here.

Universal Monsters Photos

Below are just some of the great Universal Monsters films photos for you to enjoy.  They are not all classic films to me but if I have watched one and I  think it is I will say so.

Universal Pictures image via IMDb

Lon Chaney as The Phantom Of The Opera.

This photo is from the classic 1925 silent film The Phantom Of The Opera.  

You can see the trailer for The Phantom Of The Opera via the Internet Archive here.

Universal Pictures image by unknown via Wikipedia and is the public domain

The Phantom Of The Opera 1925 film poster.

Universal Pictures image by unknown via Wikipedia and is the public domain

Dracula 1931 film poster.

See information about this classic film at the top of the page.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

Frankenstein 1931 film poster.

See information about this classic film at the top of the page.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This is a very cool Universal Classic Monsters mask I purchased for Halloween 2023.  It is officially licenced by Universal Studios and made for Trick Or Treat StudiosIt is, to date, the favourite mask I have in my mask collection and what I have worn for Halloween parties.  To see me in this and many more masks click here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Mummy 1932 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Claude Rains as The Invisible Man.

This photo is from the classic 1933 film The Invisible Man

Directed by James Whale.

You can see the trailer for The Invisible Man via YouTube here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Invisible Man 1933 film poster.

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as Frankenstein’s Monster.

This promotional photo is from the 1935 film The Bride of Frankenstein.

Directed by James Whale.

You can see the trailer for The Bride Of Frankenstein via the Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain
Image © of Universal Pictures via Wikipedia

The Wolf Man 1942 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Nelson Eddy as The Phantom Of The Opera.

This photo is from the 1943 film Phantom Of The Opera

You can see the trailer for Phantom Of The Opera via YouTube here.

Universal Pictures via Wikipedia and is the public domain

Phantom Of The Opera 1943 film poster.

Universal Pictures via Wikipedia and is the public domain

Creature From The Black Lagoon 1945 film poster.

Universal Pictures via IMDb

Ben Chapman as The Creature From The Black Lagoon. 

There were two men playing the creature in the film, Ricou Browning in the water and Ben Chapman out of the water (shown here).  None of them were credited which was unfair in my opinion considering they were both playing the actual monster in the film title and for that reason, I have rightly acknowledged them both here.

This photo is from the 1954 film Creature From The Black Lagoon

You can see the trailer for Creature From The Black Lagoon via the Internet Archive here.

You can see references and sources to the above articles here.  The above was sourced from a page on Wikipedia and is subject to change. 

Blog Posts

Links

Universal Pictures – Official website.  The image shown at the top of this page, and elsewhere, of the Universal Classic Monsters logo is the copyright of Universal Pictures and was taken from Wikipedia.

The image above of Bela Lugosi as Dracula is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as The Mummy is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as Frankenstein’s Monster is via Wikipedia and in the public domain.

The image above of Lon Chaney Jnr. as The Wolf Man is via Wikipedia.

The image above of Lon Chaney as The Phantom Of The Opera is via IMDb.

The image above of  The Phantom Of The Opera 1925 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Dracula 1931 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Frankenstein 1931 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The Frankenstein mask photos above are copyright of Universal via Universal Studios and Trick Or Treat Studios.

The image above of The Mummy 1932 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Claude Rains as The Invisible Man is from IMDb.

The image above of The Invisible Man 1933 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Frankenstein’s monster is via Wikipedia and in the public domain.

The image above of The Bride Of Frankenstein 1935 film poster is via Wikipedia and in the public domain.

The image above of The Wolf Man 1942 film poster by unknown is via Wikipedia.

The image above of Nelson Eddy as The Phantom Of The Opera is via IMDb.

The image above of Phantom Of The Opera 1943 film poster by inknown is via Wikipedia and in the public domain.

IMDb on Facebook.

IMDb on Twitter.

IMDb on YouTube.

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

Universal Pictures on Twitter.

Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information. 

Horror

Image © of Alexa_Fotos via Pixabay

What is there not to like about horror? It is an escapism from the real world and so damn cool.  I love so much about it.  This page concentrates on the Horror genre and anything I post about that can be seen in Blog Posts below.

I have been a fan of Horror, particularly Horror films since I was little.  I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them., ha ha.  That changed the older I got. 

If you mention anything to do with horror then it is inevitable Halloween is mentioned. 

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha. 

About Horror 

Horror is a genre of fiction that is intended to disturb, frighten or scare. Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction.  Literary historian J. A. Cuddon, in 1984, defined the horror story as “a piece of fiction in prose of variable length… which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing”.  Horror intends to create an eerie and frightening atmosphere for the reader.  Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.

Prevalent elements include ghosts, demons, vampires, monsters, zombies, werewolves, the Devil, serial killers, extraterrestrial life, killer toys, psychopaths, gore, torture, evil clowns, cults, cannibalism, vicious animals, the apocalypse, evil witches, dystopia and man-made or natural disasters. 

Image by Gustave Dore via wikipedia and is in the public domain

The Raven by Gustave Dore.

This is an illustration of the 1884 edition of Edgar Allan Poe’s The Raven.  It is referring to the illustration “Doubting, dreaming dreams no mortal ever dared to dream before.”

The History Of Horror 

Before 1000

The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.  These manifested in stories of beings such as demons, witches, vampires, werewolves and ghosts.  European horror fiction became established through the works of the Ancient Greeks and Ancient Romans.  Mary Shelley’s well-known 1818 novel about Frankenstein was greatly influenced by the story of Hippolytus, whom Asclepius revives from death.  Euripides wrote plays based on the story, Hippolytos Kalyptomenos and Hippolytus.  In Plutarch’s The Lives of the Noble Grecians and Romans in the account of Cimon, the author describes the spirit of a murderer, Damon, who himself was murdered in a bathhouse in Chaeronea.

Pliny the Younger (61 to circa 113) tells the tale of Athenodorus Cananites, who bought a haunted house in Athens.  Athenodorus was cautious since the house seemed inexpensive.  While writing a book on philosophy, he was visited by a ghostly figure bound in chains.  The figure disappeared in the courtyard and the following day, the magistrates dug in the courtyard and found an unmarked grave.

Elements of the horror genre also occur in Biblical texts, notably in the Book of Revelation.

After 1000

The Witch of Berkeley by William of Malmesbury has been viewed as an early horror story.  Werewolf stories were popular in medieval French literature. One of Marie de France’s twelve lais is a werewolf story titled Bisclavret.

The Countess Yolande commissioned a werewolf story titled Guillaume de Palerme.  Anonymous writers penned two werewolf stories, Biclarel and Melion.

Much horror fiction derives from the cruellest personages of the 15th century.  Dracula can be traced to the Prince of Wallachia Vlad III, whose alleged war crimes were published in German pamphlets.  A 1499 pamphlet was published by Markus Ayrer, which is most notable for its woodcut imagery.  The alleged serial killer sprees of Gilles de Rais have been seen as the inspiration for Bluebeard.  The motif of the vampiress is most notably derived from the real-life noblewoman and murderer, Elizabeth Bathory, and helped usher in the emergence of horror fiction in the 18th century, such as through Laszlo Turoczi’s 1729 book Tragica Historia.

Image by unknown via wikipedia and is in the public domain

Vlad The Impaler.

This is a portrait of Vlad Tzepesh (Vlad III).  He was the inspiration for Count Dracula.  Tzepesh ruled from 1455 – 1462 and 1483 – 1496.

18th Century

The 18th century saw the gradual development of Romanticism and the Gothic horror genre.  It drew on the written and material heritage of the Late Middle Ages, finding its form with Horace Walpole’s seminal and controversial 1764 novel, The Castle of Otranto.  In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator.  Once revealed as modern, many found it anachronistic, reactionary, or simply in poor taste but it proved immediately popular.  Otranto inspired Vathek (1786) by William Beckford, A Sicilian Romance (1790), The Mysteries of Udolpho (1794) and The Italian (1796) by Ann Radcliffe and The Monk (1797) by Matthew LewisA significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle.

Image by Joshua Reynolds via wikipedia and is in the public domain

Horace Walpole by Joshua Reynolds.

Image by Henry Justice Ford via wikipedia and is in the public domain

Athenodorus by Henry Justice Ford.

Here Athenodorus confronts the Spectre.  It is from The Strange Story Book by Leonora Blanche Lang and Andrew Lang.

19th Century

The Gothic tradition blossomed into the genre that modern readers today call horror literature in the 19th century.  Influential works and characters that continue resonating in fiction and film today saw their genesis in the Brothers Grimm’s Hansel and Gretel (1812), Mary Shelley’s Frankenstein (1818), John Polidori’s The Vampyre (1819), Charles Maturin’s Melmoth the Wanderer (1820), Washington Irving’s The Legend of Sleepy Hollow (1820), Jane C. Loudon’s The Mummy!: Or a Tale of the Twenty-Second Century (1827), Victor Hugo’s The Hunchback of Notre Dame (1831), Thomas Peckett Prest’s Varney the Vampire (1847), the works of Edgar Allan Poe, the works of Sheridan Le Fanu, Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde’s The Picture of Dorian Gray (1890), H. G. Wells’ The Invisible Man (1897), and Bram Stoker’s Dracula (1897).  Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage and screen.

Image by Richard Rothwell via wikipedia and is in the public domain

Mary Shelley By Richard Rothwell.

20th Century

A proliferation of cheap periodicals around the turn of the century led to a boom in horror writing.  For example, Gaston Leroux serialised his Le Fantome de l’Opera (The Phantom Of The Opera) before it became a novel in 1910.   One writer who specialised in horror fiction for mainstream pulps, such as All-Story Magazine, was Tod Robbins, whose fiction deals with themes of madness and cruelty.  In Russia, the writer Alexander Belyaev popularised these themes in his story Professor Dowell’s Head (1925), in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue, and which was first published as a magazine serial before being turned into a novel.  Later, specialist publications emerged to give horror writers an outlet, prominent among them were Weird Tales and Unknown Worlds.

Influential horror writers of the early 20th century made inroads into these mediums.  Particularly, the venerated horror author H. P. Lovecraft, and his enduring Cthulhu Mythos transformed and popularised the genre of cosmic horror, and M. R. James is credited with redefining the ghost story in that era.

The serial murderer became a recurring theme.  Yellow journalism and sensationalism of various murderers, such as Jack the Ripper, and lesser so, Carl Panzram, Fritz Haarman, and Albert Fish, all perpetuated this phenomenon.  The trend continued in the postwar era, partly renewed after the murders committed by Ed Gein.  In 1959, Robert Bloch, inspired by the murders, wrote Psycho.  The crimes committed in 1969 by the Manson Family influenced the slasher theme in horror fiction of the 1970’s.  In 1981, Thomas Harris wrote Red Dragon, introducing Dr. Hannibal Lecter.  In 1988, the sequel to that novel, The Silence of the Lambs, was published.

Early cinema was inspired by many aspects of horror literature and started a strong tradition of horror films and subgenres that continues to this day.  Up until the graphic depictions of violence and gore on the screen commonly associated with 1960’s and 1970’s slasher films and splatter films, comic books such as those published by EC Comics (most notably Tales From The Crypt) in the 1950’s satisfied readers’ quests for horror imagery that the silver screen could not provide.  This imagery made these comics controversial, and as a consequence, they were frequently censored.

The modern zombie tale dealing with the motif of the living dead harks back to works including H. P. Lovecraft’s stories Cool Air (1925), In The Vault (1926), and The Outsider (1926), and Dennis Wheatley’s Strange Conflict (1941).  Richard Matheson’s novel I Am Legend (1954) influenced an entire genre of apocalyptic zombie fiction emblematized by the films of George A. Romero.

In the late 1960’s and early 1970’s, the enormous commercial success of three books – Rosemary’s Baby (1967) by Ira Levin, The Exorcist by William Peter Blatty, and The Other by Thomas Tryon encouraged publishers to begin releasing numerous other horror novels, thus creating a horror boom.

One of the best-known late-20th-century horror writers is Stephen King, known for Carrie, The Shining, It, Misery and several dozen other novels and about 200 short stories.  Beginning in the 1970’s, King’s stories have attracted a large audience, for which he was awarded by the U.S. National Book Foundation in 2003.  Other popular horror authors of the period included Anne Rice, Brian Lumley, Graham Masterton, James Herbert, Dean Koontz, Richard Laymon, Clive Barker, Ramsey Campbell, and Peter Straub.

Image © Pinguino Kolb via Wikipedia

Stephen King.

This photo of King was taken at the 2007 New York Comicon in America.

21st Century

Best-selling book series of contemporary times exist in genres related to horror fiction, such as the werewolf fiction urban fantasy Kitty Norville books by Carrie Vaughn (2005 onward).  Horror elements continue to expand outside the genre.  The alternate history of more traditional historical horror in Dan Simmons’s 2007 novel The Terror sits on bookstore shelves next to genre mash-ups such as Pride and Prejudice and Zombies (2009), and historical fantasy and horror comics such as Hellblazer (1993 onward) and Mike Mignola’s Hellboy (1993 onward).  Horror also serves as one of the central genres in more complex modern works such as Mark Z. Danielewski’s House of Leaves (2000), a finalist for the National Book Award.  There are many horror novels for children and teens, such as R. L. Stine’s Goosebumps series or The Monstrumologist by Rick Yancey.  Additionally, many movies for young audiences, particularly animated ones, use horror aesthetics and conventions, for example, ParaNorman. These are what can be collectively referred to as children’s horror.  Although it is unknown for sure why children enjoy these movies (as it seems counter-intuitive), it is theorised that it is, in part, grotesque monsters that fascinate kids.  Tangential to this, the internalised impact of horror television programs and films on children is rather under-researched, especially when compared to the research done on the similar subject of violence in TV and film’s impact on the young mind.  What little research there is tends to be inconclusive on the impact that viewing such media has.

Related Genres

Horror Characteristics

One defining trait of the horror genre is that it provokes an emotional, psychological, or physical response within readers that causes them to react with fear.  One of H. P. Lovecraft’s most famous quotes about the genre is “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.”.  This is the first sentence from his seminal essay, Supernatural Horror in Literature.  Science fiction historian Darrell Schweitzer has stated, “In the simplest sense, a horror story is one that scares us” and “the true horror story requires a sense of evil, not in necessarily in a theological sense, but the menaces must be truly menacing, life-destroying, and antithetical to happiness.”

In her essay Elements of Aversion, Elizabeth Barrette articulates the need by some for horror tales in a modern world.  She says, “The old fight or flight reaction of our evolutionary heritage once played a major role in the life of every human.  Our ancestors lived and died by it.  Then someone invented the fascinating game of civilization, and things began to calm down. Development pushed wilderness back from settled lands.  War, crime, and other forms of social violence came with civilization and humans started preying on each other, but by and large daily life calmed down.  We began to feel restless, to feel something missing, the excitement of living on the edge, the tension between hunter and hunted.  So we told each other stories through the long, dark nights. when the fires burned low, we did our best to scare the daylights out of each other.  The rush of adrenaline feels good.  Our hearts pound, our breath quickens, and we can imagine ourselves on the edge.  Yet we also appreciate the insightful aspects of horror. Sometimes a story intends to shock and disgust, but the best horror intends to rattle our cages and shake us out of our complacency.  It makes us think, forces us to confront ideas we might rather ignore, and challenges preconceptions of all kinds.  Horror reminds us that the world is not always as safe as it seems, which exercises our mental muscles and reminds us to keep a little healthy caution close at hand.”

In a sense similar to the reason a person seeks out the controlled thrill of a roller coaster, readers in the modern era seek out feelings of horror and terror to feel a sense of excitement.  However, Barrette adds that horror fiction is one of the few mediums where readers seek out a form of art that forces themselves to confront ideas and images they “might rather ignore to challenge preconceptions of all kinds.”

One can see the confrontation of ideas that readers and characters would rather ignore throughout literature in famous moments such as Hamlet’s musings about the skull of Yorick, its implications of the mortality of humanity, and the gruesome end that bodies inevitably come to.  In horror fiction, the confrontation with the gruesome is often a metaphor for the problems facing the current generation of the author.

There are many theories as to why people enjoy being scared. For example, people who like horror films are more likely to score highly for openness to experience, a personality trait linked to intellect and imagination.

It is a now commonly accepted view that the horror elements of Dracula’s portrayal of vampirism are metaphors for sexuality in a repressed Victorian era.  But this is merely one of many interpretations of the metaphor of Dracula.  Jack Halberstam postulates many of these in his essay Technologies of Monstrosity: Bram Stoker’s Dracula.  He writes, “[The] image of dusty and unused gold, coins from many nations and old unworn jewels, immediately connects Dracula to the old money of a corrupt class, to a kind of piracy of nations and to the worst excesses of the aristocracy.”

Halberstram articulates a view of Dracula as manifesting the growing perception of the aristocracy as an evil and outdated notion to be defeated.  The depiction of a multinational band of protagonists using the latest technologies (such as a telegraph) to quickly share, collate, and act upon new information is what leads to the destruction of the vampire.  This is one of many interpretations of the metaphor of only one central figure of the canon of horror fiction, as over a dozen possible metaphors are referenced in the analysis, from the religious to the antisemitic.

Noel Carroll’s Philosophy of Horror postulates that a modern piece of horror fiction’s monster, villain, or a more inclusive menace must exhibit the following two traits which is a menace that is threatening (either physically, psychologically, socially, morally, spiritually, or some combination of the aforementioned) and a menace that is impure (that violates the generally accepted schemes of cultural categorisation.  

Image by John Tenniel via Wikipedia and is in the public domain

The Irish Frankenstein by John Tenniel.

This illustration is from an 1882 issue of Punch and is anti-Irish propaganda.  Tenniel conceives the Irish Fenian movement as akin to Frankenstein’s monster, in the wake of the Phoenix Park killings.  Menacing villains and monsters in horror literature can often be seen as metaphors for the fears incarnate of a society.

Scholarship And Criticism

In addition to those essays and articles shown above, scholarship on horror fiction is almost as old as horror fiction itself.  In 1826, the gothic novelist Ann Radcliffe published an essay distinguishing two elements of horror fiction, terror and horror.  Whereas terror is a feeling of dread that takes place before an event happens, horror is a feeling of revulsion or disgust after an event has happened.  Radcliffe describes terror as that which expands the soul and awakens the faculties to a high degree of life, whereas horror is described as that which freezes and nearly annihilates them.

Modern scholarship on horror fiction draws upon a range of sources.  In their historical studies of the gothic novel, both Devandra Varma and S.L. Varnado make reference to the theologian Rudolf Otto, whose concept of the numinous was originally used to describe religious experience.

Awards And Associations

Achievements in horror fiction are recognised by numerous awards.  The Horror Writers Association presents the Bram Stoker Awards for Superior Achievement, named in honour of Bram Stoker, author of the seminal horror novel Dracula.  The Australian Horror Writers Association presents the annual Australian Shadows Awards.  The International Horror Guild Award was presented annually to works of horror and dark fantasy from 1995 to 2008.  The Shirley Jackson Awards are literary awards for outstanding achievement in the literature of psychological suspense, horror, and dark fantastic works.  Other important awards for horror literature are included as subcategories within general awards for fantasy and science fiction in such awards as the Aurealis Award.

Alternative Terms

Some writers of fiction normally classified as horror tend to dislike the term, considering it too lurid.  They instead use the terms dark fantasy or Gothic fantasy for supernatural horror, or psychological thriller for non-supernatural horror.

Horror Films Since The 1890’s

For more Horror film lists click here.

Read more about Horror and notes etc. regarding the above post here.

The above articles and the rest of the images on this page were sourced from Wikipedia and are subject to change.

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