“The Happy Children”—A Ghostly Little Story of Whitby Abbey & Its Environs by Welsh Writer & Mystic Arthur Machen (1863 – 1947) w/ Intro & Links


An old glass slide showing the ruins of the Norman abbey at Whitby as viewed through the graves in the churchyard. Photographer unknown. (Whitbypopwatch.blogpost.com)

“I saw the wonder of the town in the light of the afterglow that was red in the west. The clouds blossomed into rose-gardens; there were seas of fairy green that swam about isles of crimson light; there were clouds like spears of flame, like dragons of fire. And under the mingling lights and colours of such a sky, Banwick went down to the pools of its land-locked harbour, and climbed again across the bridge towards the ruined abbey…and the great church on the hill.”

– Arthur Machen, from “The Happy Children”

About the Piece

Welsh author Arthur Machen (1863-1947) is best known as a writer of supernatural and occult fiction. A contemporary of Bram Stoker and Oscar Wilde, he also influenced the likes of H. P. Lovecraft, Stephen King, and filmmaker Guillermo Del Toro (Don’t Be Afraid of the Dark). Machen’s most famous works include the novella The Great God Pan (1894), the novel The Three Impostors (1895) and the novel The Hill Of Dreams (1907), but it was his work as a journalist for the London paper The Evening News that would lead him to visit Whitby in November 1916.

The visit was arranged ostensibly for Machen to write an article on the town’s resurgent jet industry, which had seen a revival due to the wartime fashion for wearing mourning jewellery. But what really fascinated him was the town itself, regarding it as beautiful and unspoilt, he would later compare it favourably to seeing the view of Avignon from Rhone; ‘It was wonderful, but I do not know it more wonderful than Whitby as I saw it a few days ago’. It was this enthusiasm for the place that inspired him to write “The Happy Children”, a ghostly tale set in the town of Banwick.

Unlike his most famous wartime piece “The Bowmen”, a story about invoking the spirit of St. George and the Agincourt archer on the blood-drenched Belgian battlefield, “The Happy Children” is a much subtler story, invoking such wartime tragedies as the sinking of the Lusitania and the believed atrocities committed by the German army in both France and Belgium.


Stairs leading up to the hill over-looking Whitby Abbey. Photographer unknown. (Whitbypopwatch.blogpost.com)

Machen would also have been aware that Whitby had suffered its own atrocities two years earlier, when it was bombed, along with Scarborough and Hartlepool, by two German destroyers, killing 137 people and injuring a further 592. The story also has a strong religious undercurrent, characteristic of Machen’s writing, referring to the Biblical slaughter of babies by Herod as is celebrated in the feast of Holy Innocents.

What is more prevalent in this piece, however, is Machen’s own personal belief system, which together with detailed and evocative descriptions of nature and the landscape, conjures up a seemingly more magical and ancient time.

Throughout the First World War Arthur Machen was a patriot giving his full support to the war in Europe, believing that the Allied forces were fighting a just war against the evil German Empire. He was less forthcoming with his praise when it came to the battle for hearts and minds back in England though, especially after the publication of The Bowmen and the resultant ‘Angels Of Mons’ myth. (Both are explained here: https://en.m.wikipedia.org/wiki/Angels_of_Mons)

What becomes more apparent with stories like “The Happy Children” is that his writing takes on a more serene quality, as if Machen himself having become increasingly distressed by the utter devastation the war was causing, wants to escape along with the war’s innocent victims into a more peaceful place.¥

(Sources: Wikipedia; http://whitbypopwatch.blogspot.co.uk/2010/05/arthur-machen.html)

The story was made into a wonderful short film, which can still be viewed free here…

The Story

The Happy Children by Arthur Machen

A day after the Christmas of 1915, my professional duties took me up north; or to be as precise as our present conventions allow, to “the North–Eastern district.” There was some singular talk; mad gossip of the Germans having a “dug-out” somewhere by Malton Head. Nobody seemed to be quite clear as to what they were doing there or what they hoped to do there; but the report ran like wildfire from one foolish mouth to another, and it was thought desirable that the whole silly tale should be tracked down to its source and exposed or denied once and for all.

I went up, then, to that north-eastern district on Sunday, December 26th, 1915, and pursued my investigations from Helmsdale Bay, which is a small watering-place within a couple of miles of Malton Head. The people of the dales and the moors had just heard of the fable, I found, and regarded it all with supreme and sour contempt. So far as I could make out, it originated from the games of some children who had stayed at Helmsdale Bay in the summer. They had acted a rude drama of German spies and their capture, and had used Helby Cavern, between Helmsdale and Malton Head, as the scene of their play. That was all; the fools apparently had done the rest; the fools who believed with all their hearts in “the Russians,” and got cross with anyone who expressed a doubt as to “the Angels of Mons.”

“Gang oop to beasten and tell them sike a tale and they’ll not believe it,” said one dalesman to me; and I have a suspicion that he thought that I, who had come so many hundred miles to investigate the story, was but little wiser than those who credited it. He could not be expected to understand that a journalist has two offices — to proclaim the truth and to denounce the lie.

I had finished with “the Germans” and their dug-out early in the afternoon of Monday, and I decided to break the journey home at Banwick, which I had often heard of as a beautiful and curious old place. So I took the one-thirty train, and went wandering inland, and stopped at many unknown stations in the midst of great levels, and changed at Marishes Ambo, and went on again through a strange land in the dimness of the winter afternoon. Somehow the train left the level and glided down into a deep and narrow dell, dark with winter woods, brown with withered bracken, solemn in its loneliness. The only thing that moved was the swift and rushing stream that foamed over the boulders and then lay still in brown pools under the bank.

The dark woods scattered and thinned into groups of stunted, ancient thorns; great grey rocks, strangely shaped, rose out of the ground; crenellated rocks rose on the heights on either side. The brooklet swelled and became a river, and always following this river we came to Banwick soon after the setting of the sun.

I saw the wonder of the town in the light of the afterglow that was red in the west. The clouds blossomed into rose-gardens; there were seas of fairy green that swam about isles of crimson light; there were clouds like spears of flame, like dragons of fire. And under the mingling lights and colours of such a sky Banwick went down to the pools of its land-locked harbour and climbed again across the bridge towards the ruined abbey and the great church on the hill.


Whitby Abbey. Photographer unknown (Pinterest).

I came from the station by an ancient street, winding and narrow, with cavernous closes and yards opening from it on either side, and flights of uneven steps going upward to high terraced houses, or downward to the harbour and the incoming tide. I saw there many gabled houses, sunken with age far beneath the level of the pavement, with dipping roof-trees and bowed doorways, with traces of grotesque carving on their walls. And when I stood on the quay, there on the other side of the harbour was the most amazing confusion of red-tiled roofs that I had ever seen, and the great grey Norman church high on the bare hill above them; and below them the boats swinging in the swaying tide and the water burning in the fires of the sunset. It was the town of a magic dream. I stood on the quay till the shining had gone from the sky and the waterpools, and the winter night came down dark upon Banwick.

I found an old snug inn just by the harbour, where I had been standing. The walls of the rooms met each other at odd and unexpected angles; there were strange projections and juttings of masonry, as if one room were trying to force its way into another; there were indications as of unthinkable staircases in the corners of the ceilings. But there was a bar where Tom Smart would have loved to sit, with a roaring fire and snug, old elbow chairs about it and pleasant indications that if “something warm” were wanted after supper it could be generously supplied.

I sat in this pleasant place for an hour or two and talked to the pleasant people of the town who came in and out. They told me of the old adventures and industries of the town. It had once been, they said, a great whaling port, and then there had been a lot of shipbuilding, and later Banwick had been famous for its amber-cutting. “And now there’s nowt,” said one of the men in the bar; “but we get on none so badly.”

I went out for a stroll before my supper. Banwick was now black, in thick darkness. For good reasons not a single lamp was lighted in the streets, hardly a gleam showed from behind the closely curtained windows. It was as if one walked a town of the Middle Ages, and with the ancient overhanging shapes of the houses dimly visible I was reminded of those strange, cavernous pictures of mediæval Paris and Tours that Doré drew.

Hardly anyone was abroad in the streets; but all the courts and alleys seemed alive with children. I could just see little white forms fluttering to and fro as they ran in and out. And I never heard such happy children’s voices. Some were singing, some were laughing; and peering into one black cavern, I made out a ring of children dancing round and round and chanting in clear voices a wonderful melody; some old tune of local tradition, as I supposed, for its modulations were such as I had never heard before.

I went back to my tavern and spoke to the landlord about the number of children who were playing about the dark streets and courts, and how delightfully happy they all seemed to be.

He looked at me steadily for a moment, and then said:

“Well, you see, sir, the children have got a bit out of hand of late; their fathers are out at the front, and their mothers can’t keep them in order. So they’re running a bit wild.”

There was something odd about his manner. I could not make out exactly what the oddity was, or what it meant. I could see that my remark had somehow made him uncomfortable; but I was at a loss to know what I had done. I had my supper, and then sat down for a couple of hours to settle “the Germans” of Malton Head.
I finished my account of the German myth, and instead of going to bed, I determined that I would have one more look at Banwick in its wonderful darkness. So I went out and crossed the bridge, and began to climb up the street on the other side, where there was that strange huddle of red roofs mounting one above the other that I had seen in the afterglow. And to my amazement I found that these extraordinary Banwick children were still about and abroad, still revelling and carolling, dancing and singing, standing, as I supposed, on the top of the flights of steps that climbed from the courts up the hillside, and so having the appearance of floating in mid-air. And their happy laughter rang out like bells on the night.

It was a quarter past eleven when I had left my inn, and I was just thinking that the Banwick mothers had indeed allowed indulgence to go too far, when the children began again to sing that old melody that I had heard in the evening. And now the sweet, clear voices swelled out into the night, and, I thought, must be numbered by hundreds. I was standing in a dark alley-way, and I saw with amazement that the children were passing me in a long procession that wound up the hill towards the abbey. Whether a faint moon now rose, or whether clouds passed from before the stars, I do not know; but the air lightened, and I could see the children plainly as they went by singing, with the rapture and exultation of them that sing in the woods in springtime.

They were all in white, but some of them had strange marks upon them which, I supposed, were of significance in this fragment of some traditional mystery-play that I was beholding. Many of them had wreaths of dripping seaweed about their brows; one showed a painted scar on her throat; a tiny boy held open his white robe, and pointed to a dreadful wound above his heart, from which the blood seemed to flow; another child held out his hands wide apart and the palms looked torn and bleeding, as if they had been pierced. One of the children held up a little baby in her arms, and even the infant showed the appearance of a wound on its face.

The procession passed me by, and I heard it still singing as if in the sky as it went on its steep way up the hill to the ancient church. I went back to my inn, and as I crossed the bridge it suddenly struck me that this was the eve of the Holy Innocents’. No doubt I had seen a confused relic of some mediæval observance, and when I got back to the inn I asked the landlord about it.
Then I understood the meaning of the strange expression I had seen on the man’s face. He was sick and shuddering with terror; he drew away from me as though I were a messenger from the dead.

Some weeks after this I was reading in a book called The Ancient Rites of Banwick. It was written in the reign of Queen Elizabeth by some anonymous person who had seen the glory of the old abbey, and then the desolation that had come to it. I found this passage:

“And on Childermas Day, at midnight, there was done there a marvellous solemn service. For when the monks had ended their singing of Te Deum at their Mattins, there came unto the altar the lord abbot, gloriously arrayed in a vestment of cloth of gold, so that it was a great marvel to behold him. And there came also into the church all the children that were of tender years of Banwick, and they were all clothed in white robes. And then began the lord abbot to sing the Mass of the Holy Innocents. And when the sacring of the Mass was ended, then there came up from the church into the quire the youngest child that there was present that might hold himself aright. And this child was borne up to the high altar, and the lord abbot set the little child upon a golden and glistering throne afore the high altar, and bowed down and worshipped him, singing, ‘Talium Regnum Coelorum, Alleluya. Of such is the Kingdom of Heaven. Alleluya,’ and all the quire answered singing, ‘Amicti sunt stolis albis, Alleluya, Alleluya; They are clad in white robes, Alleluya, Alleluya.’ And then the prior and all the monks in their order did like worship and reverence to the little child that was upon the throne.”

I had seen the White Order of the Innocents. I had seen those who came singing from the deep waters that are about the Lusitania; I had seen the innocent martyrs of the fields of Flanders and France rejoicing as they went up to hear their Mass in the spiritual place.


Some Very Cool Links

Machen @ Wiki: https://en.wikipedia.org/wiki/Arthur_Machen

Relevant Articles & Readings: 








Friends of Arthur Machen Society: http://www.arthurmachen.org.uk/

Bibliography of Machen’s work: http://www.isfdb.org/cgi-bin/ea.cgi?Arthur_Machen

Arthur Machen–An Archive Databse:  https://web.archive.org/web/20160807103344/http://www.gothlitdata.com/machen.html

2 responses to ““The Happy Children”—A Ghostly Little Story of Whitby Abbey & Its Environs by Welsh Writer & Mystic Arthur Machen (1863 – 1947) w/ Intro & Links

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