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"Devereux's Dream" is a supernatural mystery by Joseph Thomas Sheridan Le Fanu, published in 1853. The novel follows the titular character, Edward Devereux, who confronts his own past and emerging fears through a series of haunting dreams. As Devereux navigates his nightmares, he becomes entwined in a web of intrigue, love, and spectral encounters, exploring themes of memory, identity, and the uncanny. Le Fanu's atmospheric prose and psychological depth make this work a notable example of Victorian Gothic fiction.


Year:
1853
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Submitted by davidb on February 09, 2025
Modified by davidb on February 16, 2025


								
and then I called people to me, and--and the Paris express went on without that particular carriage. "The inquiry began before some local authority next day. Very little came of it. What could come of it, unless they had convicted me of the murder of this child I would have given my own life to save? "They might have done that at home; but they knew better here, and didn't. They couldn't find me the actual assassin, however; though I believe they did their best. All they found was his weapon, which he most purposely have left behind. I asked for this, and got it. It gave their police no clue; and it gave me none. But I had a fancy for it. "It was a plain, double-edged, admirably-tempered dagger--a very workmanlike article indeed. On the cross hilt of it I swore one day that I would live thenceforth for one thing alone--the discovery of the murderer of old D'Avray's child, whom I had promised him to care for before all. When I had found this man, whoever he was, I also swore that I would kill him. Kill him myself, you understand; without any of the law's delay or uncertainty, without troubling bourreau or hangman. Kill him as he had killed her--to do this was what I meant to live for. There was war to the knife between him and me. "I started, of course, under one heavy disadvantage. He knew me, probably, whereas I didn't know him at all. When he found that his amiable intention of fixing the crime on me had been frustrated, it must, I imagined, have occurred to him that the said crime might eventually be fixed by me on him. And he had proved himself to be a person who didn't stick at trifles. It behooved me, therefore, to go to work cautiously. But I hadn't fought Indians for nothing; and I was very cautious. I waited quiet till I got a clue. It was a curious one; and I got it in this way. It struck me one day, suddenly, that I had heard of a murder precisely similar to this already. I could not at first call the thing to mind; but presently I remembered--my dream. And then I asked myself this: Had not this murder been done before my eyes three years ago? "I came to the conclusion that the circumstances of the murder in my dream were absolutely identical with the circumstances of the actual crime. Yes; the girl whose face in that dream I had never been able to see was Lucille. Yes; the assassin whose face I had seen so plainly in that dream was the real assassin. In short, I believe that the murder had been rehearsed before me three years previous to its actual committal. "Now this sounds rather wild. Yet I came to this conviction quite coolly and deliberately. It was a conviction. Assuming it to be true, the odds against me grew shorter directly; for I had the portrait of the man I wanted drawn by myself the day after I had seen him in my dream. And the original of that portrait was a man not to be easily mistaken, supposing him to exist at all. The day I came across that sketch of him in that old forgotten sketch-book of mine, I was as sure he did exist as that I was alive myself. What I had to do was to find this man, and then I never doubted I should find the man I wanted. You see how the odds had shortened. If he knew me I knew him now, and he had no notion that I did know him. It was a good deal fairer fight between us. "I fought it out alone. My story was hardly one the Rue de Jérusalem would have acted upon; and, besides, I wanted no interference. So, with the portrait before me, I sat down and began to consider who this man was, and why he had murdered that child. The big, burly frame, the heavy yellow face, the sandy-yellow hair, the physiognomy generally, was Teutonic. My man I put down as a North German. Now there were, and are probably, plenty of men who would have no objection whatever to put a knife into me, if they got the chance; but this man, whom I had never met, could have had no such quarrel as theirs with me. His quarrel with me must have been, then, Lucille. Yes, that was it--Lucille. I began to see clearly: a thwarted, devilish passion--a cool, infernal revenge. The child had feared something of this sort; had perhaps seen him that night. This explained her nervous terror, her nervous anxiety to stop nowhere, to travel on. In that carriage of that express-train, alone with me--where could she be safer? This accounted, too, for her anxiety to reach England. He would not dare follow her there, she had thought, or, at least, could not without my noticing him. And then she would have told me. She had not told me before evidently because she had feared for me too, in a quarrel with this man. She must, innocent child as she was, have had some instinctive knowledge of what he was capable.... Ay, a cool, infernal revenge, indeed. To kill her; to fix the murder on me. That dagger he had left behind.... The apparent impossibility of any one's entering the carriage as he must have entered it at all, to say nothing of the almost absolute impossibility of his doing so without disturbing either of us,--you see it might have gone hard with me if a British jury had had to decide on the case. "Well, to cut this as short as may be, I made up my mind that the man I wanted was a North German; that he had conceived a hideous passion for Lucille before I knew her; that she had shrunk from it and him so unmistakably, that he knew he had no chance; that my taking her away as my wife, to which he might have been a witness, drove him to as hideous a revenge; that, hearing we were going to England, and seeing that we were likely to stop nowhere on the way, and so give him a chance of doing what he had made up his mind to do, he had decided to do what he had done as he had done it,--counting on finding us asleep as he had found us, or on his strength if it came to a fight between him and me; but coolly reckless enough to brave everything in any case. And the devil aiding, he had in great part and only too well succeeded. He was now either so far satisfied that, if I made no move against him--and how, he might think, could I?--he, feeling himself all safe, would let me be; or, on the other hand, he did not feel safe, and was not satisfied, and was arranging for my being disposed of by and by. I considered the latter frame of mind as his most probable one; I went to work cautiously, as I say. I ascertained that Lucille had made no mention of any obnoxious prétendant at any time; I didn't expect to find she had, her terror of the man was too intense. But this man must have met her somewhere--where? "When old D'Avray came home to die, his daughter was just leaving her Paris pensionnat. All through his last illness he had seen no visitor but me, and Lucille had never quitted him. Besides, I had been there all the time. I presumed, then, that this man and she had met in Paris; and I believe they were only likely to have met at one of the half-dozen
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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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