The Horla (7 page)

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Authors: Guy De Maupassant

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Ah! You smile! Why? Because this Being remains invisible. But our eye, gentlemen, is such an elementary organ that it can scarcely discern what is indispensable to our existence. Whatever is too small escapes it, whatever is too large escapes it, whatever is too far away escapes it. It is unaware of the animals that live in a drop of water. It is unaware of the inhabitants, the plants, and the surface of neighboring stars; it can’t even see what is transparent.

Place in front of it a perfect two-way mirror, and it will not perceive it, it will make us walk right into it, just as a bird caught in a house breaks his neck on the windowpanes. It does not see the solid and transparent bodies that nevertheless exist; it does not see the air we live on, does not see the wind that is the strongest force in nature, that knocks men down, topples buildings, uproots trees, whips the sea up into mountains of water that make granite cliffs crumble.

Why should it be surprising if our eye cannot see a new body, one that evidently lacks the property of blocking light rays?

Can you see electricity? And yet it exists!

This being, which I have named the Horla, also exists.

Who is it? Gentlemen, it is the one the Earth is waiting for, the one that will succeed mankind! The one who is coming to dethrone us, subjugate us, tame us, feed on us perhaps, just as we fed on the ox and the wild boar.

For centuries, we have had a foreboding of him, we have dreaded him and foretold him! The fear of the Invisible always haunted our ancestors.

He has come.

All the fairy tales, the legends about goblins and ungraspable and malevolent prowlers of the air, it was he they were talking about, he is the one of whom an already anxious and trembling humanity had some premonition.

And everything you yourselves have been doing, gentlemen, in recent years, what you call ‘hypnotism,’ ‘suggestion,’ ‘magnetism’—it is he you are heralding and prophesying!

I tell you he has come. He prowls about, anxious himself as the first men were, still ignorant of his own force and power that he will come to know soon, too soon.

And now, gentlemen, to finish, a fragment from a newspaper I came across, which comes from Rio de Janeiro. I quote:

A sort of epidemic of madness seems for some time to have been raging in the province of Saõ Paulo. The inhabitants of several villages have run away, abandoning their land and their houses, claiming they are pursued and consumed by invisible vampires that are feeding on their breath while they sleep and that otherwise drink nothing but water, and sometimes milk!

I will add: A few days before the first attack of the sickness from which I almost died, I vividly recall seeing a grand Brazilian three-master pass by with its flag flying … I told you that my house was on the water’s edge … all white.… He was hidden on this ship, without a doubt.…

I have nothing more to add, gentlemen.

Dr. Marrande rose and murmured:

“Nor I. I do not know if this man is mad, or if we are both mad … or if … if our successor has actually arrived.”

—October 26, 1886

TRANSLATOR’S NOTE

The word “horla” (pronounced “orla”), although not a word in French, does have some interesting connotations to a French ear. “
Hors
” means outside, and
“là”
means simply “there”—so
le
(note the masculine gender)
Horla
sounds like the Outsider, the outer, the one Out There.

Maupassant seems to have been much taken with the Horla, since he wrote two versions of the story, in 1886 and 1887, as well as the more austere, but no less frightening “Letter from a Madman” (1885). All three are included here, in a new, integral presentation of the Horla cycle.

Maupassant also wrote a short story called “The Voyage of The Horla,” which was published in July 1887, just a few months after the final version of “The Horla.” “The Voyage of the Horla” does not, however, deal with the supernatural: It is about a journey in a hot-air balloon called “Le Horla,” about how interesting the earth looks when viewed from far away, from Out There.

CHARLOTTE MANDELL

ANNANDALE-ON-HUDSON, NY

DECEMBER 2004

THE ART OF THE NOVELLA

OTHER TITLES IN
THE ART OF THE NOVELLA SERIES

BARTLEBY THE SCRIVENER

HERMAN MELVILLE

THE LESSON OF THE MASTER

HENRY JAMES

MY LIFE

ANTON CHEKHOV

THE DEVIL

LEO TOLSTOY

THE TOUCHSTONE

EDITH WHARTON

THE HOUND OF THE

BASKERVILLES

ARTHUR CONAN DOYLE

THE DEAD

JAMES JOYCE

FIRST LOVE

IVAN TURGENEV

A SIMPLE HEART

GUSTAVE FLAUBERT

THE MAN WHO WOULD BE KING

RUDYARD KIPLING

MICHAEL KOHLHAAS

HEINRICH VON KLEIST

THE BEACH OF FALESÁ

ROBERT LOUIS STEVENSON

THE HORLA

GUY DE MAUPASSANT

THE ETERNAL HUSBAND

FYODOR DOSTOEVSKY

THE MAN THAT CORRUPTED

HADLEYBURG

MARK TWAIN

THE LIFTED VEIL

GEORGE ELIOT

THE GIRL WITH THE

GOLDEN EYES

HONORÉ DE BALZAC

A SLEEP AND A FORGETTING

WILLIAM DEAN HOWELLS

BENITO CERENO

HERMAN MELVILLE

MATHILDA

MARY SHELLEY

STEMPENYU: A JEWISH ROMANCE

SHOLEM ALEICHEM

FREYA OF THE SEVEN ISLES

JOSEPH CONRAD

HOW THE TWO IVANS

QUARRELLED

NIKOLAI GOGOL

MAY DAY

F. SCOTT FITZGERALD

RASSELAS, PRINCE ABYSSINIA

SAMUEL JOHNSON

THE DIALOGUE OF THE DOGS

MIGUEL DE CERVANTES

THE LEMOINE AFFAIR

MARCEL PROUST

THE COXON FUND

HENRY JAMES

THE DEATH OF IVAN ILYICH

LEO TOLSTOY

TALES OF BELKIN

ALEXANDER PUSHKIN

THE AWAKENING

KATE CHOPIN

ADOLPHE

BENJAMIN CONSTANT

THE COUNTRY OF

THE POINTED FIRS

SARAH ORNE JEWETT

PARNASSUS ON WHEELS

CHRISTOPHER MORLEY

THE NICE OLD MAN

AND THE PRETTY GIRL

ITALO SVEVO

LADY SUSAN

JANE AUSTEN

JACOB’S ROOM

VIRGINIA WOOLF

THE DUEL

GIACOMO CASANOVA

THE DUEL

ANTON CHEKHOV

THE DUEL

JOSEPH CONRAD

THE DUEL

HEINRICH VON KLEIST

THE DUEL

ALEXANDER KUPRIN

THE ALIENIST

MACHADO DE ASSIS

ALEXANDER’S BRIDGE

WILLA CATHER

FANFARLO

CHARLES BAUDELAIRE

THE DISTRACTED PREACHER

THOMAS HARDY

THE ENCHANTED WANDERER

NIKOLAI LESKOV

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