Tales for Christmas Eve — Key Ideas to Explore

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Broughton, Rhoda, 1840-1920 Project Gutenberg 2022 Not confirmed
Short stories; Fantasy fiction; Ghost stories; Paranormal fiction Readers of public-domain and historical texts
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Edition facts

Words 34,089
Reading time 149 min
Text sections 24

The catalog record for Tales for Christmas Eve — Key Ideas to Explore provides practical reading context through 34,089 words, 2 hr 29 min estimated reading time, and 24 detected text sections.

The text analysis averages about 19.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

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

Rhoda Broughton's 1873 collection of five ghostly tales uses epistolary frames, domestic settings, and psychological tension to explore supernatural dread. The stories hinge on unfulfilled premonitions, ambiguous hauntings, and the clash between rational skepticism and creeping fear.
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Editorial Edition Score 4.8/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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off her ring twenty times a day to admire its bright thickness; still laughs when she hears herself called “Madame.” Three days ago, we kissed all our friends, and left them to make themselves ill on our cake, and criticise our bridal behaviour, and now we are at Brussels, she and I, feeling oddly, joyfully free from any chaperone. We have been mildly sight-seeing--very mildly, most people would say, but we have resolved not to take our pleasure with the railway speed of Americans, or the hasty sadness of our fellow Britons. Slowly and gaily we have been taking ours. To-day we have been to visit Wiertz’s pictures. Have you ever seen them, oh reader? They are known to comparatively few people, but if you have a taste for the unearthly terrible--if you wish to sup full of horrors, hasten thither. We have been peering through the appointed peep-hole at the horrible cholera picture--the man buried alive by mistake, pushing up the lid of his coffin, and stretching a ghastly face and livid hands out of his winding sheet towards you, while awful grey-blue coffins are piled around, and noisome toads and giant spiders crawl damply about. On first seeing it, I have reproached myself for bringing one of so nervous a temperament as Elizabeth to see so haunting and hideous a spectacle; but she is less impressed than I expected--less impressed than I myself am.

“He is very lucky to be able to get his lid up,” she says, with a half-laugh; “we should find it hard work to burst our brass nails, should not we? When you bury me, dear, fasten me down very slightly, in case there may be some mistake.”

And now all the long and quiet July evening we have been prowling together about the streets. Brussels is the town of towns for _flâner_-ing--have been flattening our noses against the shop windows, and making each other imaginary presents. Elizabeth has not confined herself to imagination, however; she has made me buy her a little bonnet with feathers--“in order to look married,” as she says, and the result is such a delicious picture of a child playing at being grown up, having practised a theft on its mother’s wardrobe, that for the last two hours I have been in a foolish ecstasy of love and laughter over her and it. We are at the “Bellevue,” and have a fine suite of rooms, _au premier_, evidently specially devoted to the English, to the gratification of whose well-known loyalty the Prince and Princess of Wales are simpering from the walls. Is there any one in the three kingdoms who knows his own face as well as he knows the faces of Albert Victor and Alexandra? The long evening has at last slidden into night--night far advanced--night melting into earliest day. All Brussels is asleep. One moment ago I also was asleep, soundly as any log. What is it that has made me take this sudden, headlong plunge out of sleep into wakefulness? Who is it that is clutching at and calling upon me? What is it that is making me struggle mistily up into a sitting posture, and try to revive my sleep-numbed senses? A summer night is never wholly dark; by the half light that steals through the closed _persiennes_ and open windows I see my wife standing beside my bed; the extremity of terror on her face, and her fingers digging themselves with painful tenacity into my arm.

“Tighter, tighter!” she is crying, wildly. “What are you thinking of? You are letting me go!”

“Good heavens!” say I, rubbing my eyes, while my muddy brain grows a trifle clearer. “What is it? What has happened? Have you had a nightmare?”

“You saw him,” she says, with a sort of sobbing breathlessness; “you know you did! You saw him as well as I.”

“I!” cry I, incredulously--“not I. Till this second I have been fast asleep. _I_ saw nothing.”

“You did!” she cries, passionately. “You know you did. Why do you deny it? You were as frightened as I?”

“As I live,” I answer, solemnly, “I know no more than the dead what you are talking about; till you woke me by calling me and catching hold of me, I was as sound asleep as the seven sleepers.”

“Is it possible that it can have been a _dream_?” she says, with a long sigh, for a moment loosing my arm, and covering her face with her hands. “But no--in a dream I should have been somewhere else, but I was here--_here_--on that bed, and he stood _there_,” pointing with her forefinger, “just _there_, between the foot of it and the window!”

Rhoda Broughton's Tales for Christmas Eve (1873) opens with an epistolary flourish: Mrs. de Wyht writes to her friend Cecilia about house-hunting in London, her tone brisk and ironic. Yet this mundane beginning quickly gives way to a story about a dream that foretells a murder. The collection's five tales share a pattern: ordinary domestic life is disrupted by an uncanny event—a premonition, a strange face, a persistent ghost—that tests the characters' composure and beliefs. Broughton's narrators often resist the supernatural, offering rational explanations that the reader may find insufficient. The stories are set in drawing-rooms, country houses, and seaside lodgings, places where comfort and safety are subtly undermined.

Epistolary Framing and Unreliable Voices

The first story, “The Truth, the Whole Truth, and Nothing But the Truth,” is told entirely through letters between two women. This form allows Broughton to present events filtered through a single, emotionally charged perspective. The narrator, Dinah, recounts a dream in which a reaper murders her friend's husband; her urgency clashes with the friend's skepticism. The letter format also lets Broughton include the friend's reply, which offers a contrasting, more mundane interpretation. This technique creates a tension between the vividness of the dream and the dismissive rationality of others. The reader must decide whether the dream is prophetic or merely a product of anxiety. Broughton uses the epistolary mode to heighten ambiguity: we never get an omniscient view, only competing testimonies.

Domestic Spaces as Sites of Dread

Broughton's ghosts do not haunt ruins or graveyards; they appear in well-appointed drawing-rooms, bedrooms, and country lanes. In “The Man with the Nose,” a supernatural figure intrudes upon a comfortable home, its grotesque feature—an enormous nose—becoming a focal point of horror. The setting is described with precise, homely details: white curtains, rose-coloured festoons, mirrors. This juxtaposition of the familiar and the uncanny amplifies the unease. Similarly, in “Behold It Was a Dream!” the protagonist's premonition occurs in a cheerful rural house, and the threat is a hired reaper—a figure from everyday agricultural life. By placing the supernatural within the domestic sphere, Broughton suggests that terror can arise from the most ordinary circumstances, making the stories more unsettling than if they were set in Gothic castles.

Skepticism and the Unresolved Ending

A recurring pattern in the collection is the clash between belief and disbelief. Characters often dismiss supernatural occurrences as dreams, coincidences, or nerves. In the first story, the husband laughs off the dream as “a fancy—a nightmare,” and the narrator herself later feels “ashamed of my conduct.” Yet the stories rarely provide a definitive resolution: the ghost may or may not be real, the premonition may or may not come true. Broughton leaves the question open, allowing the reader to share the characters' uncertainty. This ambiguity is a deliberate structural choice; the tales do not offer catharsis or explanation. Instead, they linger on the psychological aftermath—the lingering doubt, the sense of unresolved threat. The reader is left to weigh evidence and decide what to believe.

Readers approaching Tales for Christmas Eve should attend to Broughton's use of voice and perspective. The stories reward close attention to the narrators' self-presentation and the gaps between what they say and what they imply. The supernatural elements are often understated, emerging from everyday details rather than dramatic spectacle. These tales are best read as psychological studies in fear and doubt, not as straightforward ghost stories. The collection's brevity—five stories in under 35,000 words—makes it an ideal evening's reading, but its ambiguities may linger longer.

I’ve often noticed how Tales for Christmas Eve carries a hush between its lines, that same unnamed dread that follows unspoken fears. It reminds me of the quiet hum in Lost on the Orinoco; or, American boys in Venezuela — Inside the Classic, where wild places hold their secrets close. Both linger long after the lamplight dims.

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