The worst of a
modern stylish mansion is, that it has no place for ghosts. I watched
one building not long since. It had no proper garret, to begin with,
only a sealed interval between the roof and attics, where a spirit could
not be accommodated, unless it were flattened out like Ravel, Brother,
after the millstone had fallen on him. There was not a nook or a corner
in the whole horse fit to lodge any respectable ghost, for every part was
as open to observation as a literary man's character and condition, his
figure and estate, his coat and his countenance, are to his (or her)
Bohemian Majesty on a tour of inspection through his (or her) subjects'
keyholes.
Now the old house had wainscots, behind which the mice were always
scampering and squeaking and rattling down the plaster, and enacting
family scenes and parlor theatricals. It had a cellar where the cold
slug clung to the walls, and the misanthropic spider withdrew from the
garish day; where the green mould loved to grow, and the long white
potato-shoots went feeling along the floor, if haply they might find the
daylight; it had great brick pillars, always in a cold sweat with holding
up the burden they had been aching under day and night far a century and
more; it had sepulchral arches closed by rough doors that hung on hinges
rotten with rust, behind which doors, if there was not a heap of bones
connected with a mysterious disappearance of long ago, there well might
have been, for it was just the place to look for them.
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