Tedious brief tales of Granta and Gramarye — Reading Companion
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The catalog record for Tedious brief tales of Granta and Gramarye — Reading Companion provides practical reading context through 34,058 words, 2 hr 29 min estimated reading time, and 16 detected text sections.
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Project Gutenberg metadata also associates the work with “Short stories, English,” connecting these edition facts with the source record’s subject description.
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er publicly challenged. With Bellasis, too, the petulance of youth had passed: he was discreet, perhaps exemplary. The scandal of his early conduct was unknown to most of the new generation, condoned by the few survivors who had witnessed it.
On the night of November 2nd, 1766, a terrible event revived in the older inhabitants of the College the memory of those evil days. From ten o’clock to midnight a hideous uproar went on in the chamber of Bellasis. Who were his companions none knew. Blasphemous outcries and ribald songs, such as had not been heard for twenty years past, aroused from sleep or study the occupants of the court; but among the voices was not that of Bellasis. At twelve a sudden silence fell upon the cloisters. But the Master lay awake all night, troubled at the relapse of a respected colleague and the horrible example of libertinism set to his pupils.
In the morning all remained quiet about Bellasis’ chamber. When his door was opened, soon after daybreak, the early light creeping through the drawn curtains revealed a strange scene. About the table were drawn seven chairs, but some of them had been overthrown, and the furniture was in chaotic disorder, as after some wild orgy. In the chair at the foot of the table sat the lifeless figure of the Secretary, his head bent over his folded arms, as though he would shield his eyes from some horrible sight. Before him on the table lay pen, ink and the red Minute Book. On the last inscribed page, under the date of November 2nd, were written, for the first time since 1742, the autographs of the seven members of the Everlasting Club, but without address. In the same strong hand in which the President’s name was written there was appended below the signatures the note, “Mulctatus per Presidentem propter neglectum obsonii, Car. Bellasis.”
The Minute Book was secured by the Master of the College, and I believe that he alone was acquainted with the nature of its contents. The scandal reflected on the College by the circumstances revealed in it caused him to keep the knowledge rigidly to himself. But some suspicion of the nature of the occurrences must have percolated to students and servants, for there was a long-abiding belief in the College that annually on the night of November 2 sounds of unholy revelry were heard to issue from the chamber of Bellasis. I cannot learn that the occupants of the adjoining rooms have ever been disturbed by them. Indeed, it is plain from the minutes that owing to their improvident drafting no provision was made for the perpetuation of the All Souls entertainment after the last Everlasting ceased to be Corporeal. Such superstitious belief must be treated with contemptuous incredulity. But whether for that cause or another the rooms were shut up, and have remained tenantless from that day to this.
The Treasure of John Badcoke
As this narrative of an occurrence in the history of Jesus College may appear to verge on the domain of romance, I think it proper to state by way of preface, that for some of its details I am indebted to documentary evidence which is accessible and veracious. Other portions of the story are supplied from sources the credibility of which my readers will be able to estimate.
On the 8th of November, 1538, the Priory of St. Giles and St. Andrew, Barnwell, was surrendered to King Henry VIII. by John Badcoke, the Prior, and the convent of that house. The surrender was sealed with the common seal, subscribed by the Prior and six canons, and acknowledged on the same day in the Chapter House of the Priory, before Thomas Legh, Doctor of Laws.[1]
Dr. Legh and his fellows, who had been deputed by Cromwell to visit the monasteries, had too frequent occasion to deplore the frowardness of religious households in opposing the King’s will in the matter of their dissolution. Among many such reports I need only cite the case of the Prior of Christ Church, Canterbury, mentioned in a letter to Cromwell from one of his agents, Christopher Leyghton.[2] He tells Cromwell that in an inventory exhibited by the Prior to Dr. Leyghton, the King’s visitor, the Prior had “wilfullye left owte a remembraunce of certayne parcells of silver, gold and stone to the value of thowsandys of poundys”; that it was not to be doubted that he would “eloyne owt of the same howse into the handys of his secret fryndys thowsandes of poundes, which is well knowne he hathe, to hys comfort hereafter”; and that it was common report in the monastery that any monk who should open the matter to the King’s advisers “shalbe poysenyde or murtheryde, as he hath murthredde diverse others.”
The opening poem, addressed to Christopher Marlowe and Robert Greene as "Two Cambridge Magicians," sets a tone of elegiac scholarship: the author sprinkles "pious particles of sand" on their unmarked graves. Gray, writing under the pseudonym Ingulphus, draws on Cambridge college lore—particularly Jesus College—to craft stories where the supernatural emerges from archival dust and architectural corners. The title itself, a phrase from A Midsummer Night's Dream, signals a deliberate mix of the tedious and the brief, the merry and the tragical.
In "The Everlasting Club," the first tale, Gray establishes a pattern: a scholar, Matthew Makepeace, labors over a book that becomes obsolete before completion. The narrative voice dwells on his isolation, his "world consisted of books, and his books were out of date." The supernatural enters not through ghosts but through a mysterious Italian visitor, Alessandro Galiani, who plants the seed of Makepeace's work. Gray's prose lingers on the physical details of college life—the Fair Yard, the casement window—grounding the uncanny in the tangible.
Diction of Disenchantment
Gray's vocabulary consistently evokes a world of faded purpose. Makepeace's book is described as having been "begun in the white heat of controversies" but now "lingered in parturition until the fire had burnt low." The language of labor and exhaustion—"mechanical drudgery," "profound lassitude"—pervades the narrative. Even the charlatan's cry, "Come buy, my masters, come buy," echoes with a hollow urgency. Gray avoids overt horror; instead, he builds unease through the slow decay of intellectual ambition. The phrase "too late he was conscious of the fact" recurs as a quiet refrain, suggesting a world where understanding arrives only after relevance has passed.
Voice and the Unreliable Narrator
The narrative voice in "The Everlasting Club" is notably detached, almost clinical, yet tinged with sympathy. Gray uses indirect discourse to render Makepeace's thoughts: "Had he gone out into the world he might have learnt what the world was interested in." This technique keeps the reader at a distance, observing the scholar's self-awareness without fully entering his mind. The Italian Galiani is described through rumor and suspicion—"his talk and conduct were so equivocal"—leaving his true nature ambiguous. Gray's narrator never confirms the supernatural; he merely reports the characters' beliefs and fears, a strategy that heightens the eerie atmosphere.
Structure of the Scholarly Haunting
Gray structures his tale around the contrast between interior and exterior worlds. Makepeace sits at his table, the "slighted volume" before him, while outside the window comes "sounds of merriment from the Fair Yard." The physical setting—the chamber, the casement, the platform below—becomes a stage for the collision of scholarly isolation and vulgar life. The charlatan's performance mirrors Makepeace's own: both are peddlers of obsolete remedies. Gray's use of the window as a threshold between the studious and the carnivalesque recurs in later tales, suggesting a pattern where the supernatural emerges at the boundaries of college architecture.
Recurring Details and Cambridge Topography
Gray anchors his fiction in specific Cambridge locations: Jesus College, the Fair Yard, the Master's Lodge. The illustrations by E. Joyce Shillington Scales—depicting doorways, staircases, and cloisters—reinforce this topographical precision. In the excerpt, the narrator notes that Makepeace "drew his stool from the table... to the open window" overlooking the Fair Yard. Such details root the fantastic in the familiar. The catalog subjects list "Jesus College (University of Cambridge) — Fiction," and Gray's dedication to Marlowe and Greene, both Cambridge men, further ties the collection to a particular academic geography. The supernatural, when it appears, feels like a natural extension of the stones and shadows of the college.
Gray's tales reward readers attentive to the interplay between scholarly melancholy and the uncanny. The author's choice to write under a pseudonym and to frame the collection with a poem to two playwrights suggests a self-conscious literary game. Readers may find it useful to note how Gray uses the physical fabric of Cambridge—its gates, staircases, and libraries—as a stage for psychological rather than spectacular horror. The stories are brief, but their effect lingers, like the dust on an old book.
Reading Tedious brief tales, I remembered the winter I spent among old libraries, chasing footnotes of vanished scholars—that same ache Gray captures of rooms haunted by quiet minds. One afternoon, another friend lent me Spellbinders — A Closer Reading, and I felt that exact hush, as if the books themselves were breathing beside me.
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