Catherine's Quest book cover

Catherine's Quest

"Catherine's Quest" is a captivating novella by Joseph Thomas Sheridan Le Fanu, revolving around the titular character, Catherine. The story explores themes of love, identity, and the supernatural as Catherine embarks on a journey marked by mystery and intrigue. Set against a backdrop of rich Gothic elements, the narrative delves into her encounters with enigmatic figures and the struggles she faces in her search for truth and fulfillment. Le Fanu's evocative prose and gripping storytelling create an engaging tale that combines romance with an exploration of the darker facets of human nature.


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Submitted by davidb on February 09, 2025


								
Imagine to yourself an old, rambling, red-brick house, with odd corners and gables here and there, all bound and clasped together with ivy, and you have Craymoor Grange. It was built long before Queen Elizabeth's time, and that illustrious monarch is said to have slept in it in one of her royal progresses--as where has she not slept? There still remain some remnants of bygone ages, although it has been much modernized and added to in later days. Among these are the brewhouse and laundry--formerly, it is said, dining-hall and ball-room. The latter of these is chiefly remarkable for an immense arched window, such as you see in churches, with five lights. When we came to the Grange this window had been partially blocked up, and in front of it, up to one-third of its height, was a wooden daïs, or platform, on which stood a cumbrous mangle, left there, I suppose, by the last tenants of the house. Of these last tenants we knew very little, for it was so long since it had been inhabited that the oldest authority in the village could not remember it. There were, however, some half-defaced monuments in the village church of Craymoor, bearing the figures and escutcheons of knights and dames of "the old family," as the villagers said; but the inscriptions were worn and almost illegible, and for some time we none of us took the pains to decipher them. We first came to Craymoor Grange in the summer of 1849, my husband having discovered the place in one of his rambles, and taken a fancy to it. At first I certainly thought we could never make it our home, it was so dilapidated and tumble-down; but by the time winter came on we had had several repairs done and alterations made, and the rooms really became quite presentable. As our family was small we confined ourselves chiefly to the newest part of the house, leaving the older rooms to the mice, dust, and darkness. We made use of two of the old rooms, however, one as a servants' bedroom and the other as an extra spare chamber, in case of many visitors. For myself, though I hope I am neither nervous nor superstitious, I confess that I would rather sleep in "our wing," as we called the part of the house we inhabited, than in any of the old rooms. When Catherine l'Estrange came to us, however, during our first Christmas at Craymoor, I found that she was troubled with no such fancies, but declared that she delighted in queer old rooms, with raftered ceilings and deep window-seats, such as ours, and begged to be allowed to occupy the spare chamber. This I readily acceded to, as we had several visitors, and needed all the available rooms. As my story has principally to do with Catherine l'Estrange, I suppose I ought to speak more fully about her. She was an old school-friend of my daughter Ella, and at the time of which I am speaking was just one-and-twenty, and the merriest girl I ever knew. She had stayed with us once or twice before we came to the Grange, but we then knew no other particulars concerning her family, than that her father had been an Indian officer, and that he and her mother had both died in India when she was about six years old, leaving her to the care of an aunt living in England. I now, after a long, and I fear a tedious, preamble, come to my story. On the eve of the new year of 1850, Catherine had a very bad sore throat, and was obliged, though sorely against her inclination, to stay in bed all day, and forego our small evening gayety. At about 6 o'clock P.M., Ella took her some tea, and fearing she would be dull, offered to stay with her during the evening. This, however, Catherine would not hear of. "You go and entertain your company," said she laughingly, "and leave me to my own devices; I feel very lazy, and I dare say I shall go to sleep." As she had not slept much on the preceding night, Ella thought it was the best thing she could do; so she went out by the door leading on to the corridor, first placing the night-lamp on a table behind the door opening on to the laundry, so that it might not shine in her face. She did not again visit Catherine's room until reminded to do so by my son George, at about half-past ten. She then rapped at the door, and receiving no answer, opened it softly, and approached the bed. Catherine lay quite still, and Ella imagined her to be asleep. She therefore returned to the drawing-room without disturbing her. As it was New Year's eve, we stayed up "to see the old year out and the new year in," and at a few minutes to twelve we all gathered round the open window on the stairs to hear the chimes ring out from the village church. We were all listening breathlessly as the hall-clock struck twelve, when a piercing cry suddenly echoed through the house, causing us all to start in alarm. I knew that it could only proceed from Catherine's room, for the servants were all assembled at the window beneath us, listening, like ourselves, for the chimes. Thither therefore I flew, followed by Ella, and we found poor Catherine in a truly pitiable state. She was deadly pale, in an agony of terror, and the perspiration stood in large drops upon her forehead. It was some time before we could succeed at all in composing her, and her first words were to implore us to take her into another room. She was too weak to stand, so we wrapped her in blankets, and carried her into Ella's bedroom. I noticed that as she was taken through the laundry she shuddered, and put her hands before her eyes. When she was laid on Ella's bed she grew calmer, and apologized for the trouble she had caused, saying that she had had a dreadful dream. With this explanation we were fain to be content, though I thought it hardly accounted for her excessive terror. I had observed, however, that any allusion to what had passed caused her to tremble and turn pale again, and I thought it best to refrain from exciting her further. When morning came I found Catherine almost her usual self again; but I persuaded her to remain in bed until the evening, as her cold was not much better. Ella's curiosity to hear the dream which had so much excited her friend could now no longer be restrained; but whenever she asked to hear it, Catherine said, "Not now; another time, perhaps, I may tell you." When she came down to dinner in the evening, we noticed that she was peculiarly silent, and we endeavored to rally her into her usual spirits, but in vain. She tried to laugh and to appear merry, poor child; but there was evidently something on her mind. At last, as we all sat round the fire after dinner, she spoke. She addressed herself to my husband, but the tone of her voice caused us all to listen. "Mr. Fanshawe, I have something to ask of you," said she, and then paused. "Ask on," said Mr. Fanshawe. "I know that you will think the request I am going to make a peculiar one; but I have a particular reason for making it," continued she. "It
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Joseph Thomas Sheridan Le Fanu

Joseph Thomas Sheridan Le Fanu (1814-1873) was an Irish author known for his contributions to the Gothic fiction genre and his mastery of supernatural tales. His works often explore themes of mystery, madness, and the occult, blending psychological depth with eerie atmospheres. Le Fanu is best remembered for his novels "Carmilla," a seminal vampire story that predates Bram Stoker's "Dracula," and "The House by the Churchyard." His storytelling style, rich in atmosphere and suspense, has influenced many later writers, earning him a significant place in the literary canon of horror and Gothic literature. more…

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