The Watcher book cover

The Watcher

"The Watcher" is a gothic tale by Joseph Thomas Sheridan Le Fanu, known for his skill in blending horror with psychological depth. The story revolves around a mysterious figure who observes and influences the lives of others, exploring themes of obsession, voyeurism, and the boundaries between reality and the supernatural. Le Fanu's atmospheric prose creates an eerie tension, drawing readers into a world where the watcher holds an unsettling power over his subjects, ultimately questioning the nature of madness and the unseen forces that shape human lives.


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Submitted by davidb on February 17, 2025
Modified by davidb on February 17, 2025


								
It is now more than fifty years since the occurrences which I am about to relate caused a strange sensation in the gay society of Dublin. The fashionable world, however, is no recorder of traditions; the memory of selfishness seldom reaches far; and the events which occasionally disturb the polite monotony of its pleasant and heartless progress, however stamped with the characters of misery and horror, scarcely outlive the gossip of a season, and (except, perhaps, in the remembrance of a few more directly interested in the consequences of the catastrophe) are in a little time lost to the recollection of all. The appetite for scandal, or for horror, has been sated; the incident can yield no more of interest or novelty; curiosity, frustrated by impenetrable mystery, gives over the pursuit in despair; the tale has ceased to be new, grows stale and flat; and so, in a few years, inquiry subsides into indifference. Somewhere about the year 1794, the younger brother of a certain baronet, whom I shall call Sir James Barton, returned to Dublin. He had served in the navy with some distinction, having commanded one of his Majesty's frigates during the greater part of the American war. Captain Barton was now apparently some two or three-and-forty years of age. He was an intelligent and agreeable companion, when he chose it, though generally reserved, and occasionally even moody. In society, however, he deported himself as a man of the world and a gentleman. He had not contracted any of the noisy brusqueness sometimes acquired at sea; on the contrary, his manners were remarkably easy, quiet, and even polished. He was in person about the middle size, and somewhat strongly formed; his countenance was marked with the lines of thought, and on the whole wore an expression of gravity and even of melancholy. Being, however, as we have said, a man of perfect breeding, as well as of affluent circumstances and good family, he had, of course, ready access to the best society of the metropolis, without the necessity of any other credentials. In his personal habits Captain Barton was economical. He occupied lodgings in one of the then fashionable streets in the south side of the town, kept but one horse and one servant, and though a reputed free-thinker, he lived an orderly and moral life, indulging neither in gaming, drinking, nor any other vicious pursuit, living very much to himself, without forming any intimacies, or choosing any companions, and appearing to mix in gay society rather for the sake of its bustle and distraction, than for any opportunities which it offered of interchanging either thoughts or feelings with its votaries. Barton was therefore pronounced a saving, prudent, unsocial sort of a fellow, who bid fair to maintain his celibacy alike against stratagem and assault, and was likely to live to a good old age, die rich and leave his money to a hospital. It was soon apparent, however, that the nature of Captain Barton's plans had been totally misconceived. A young lady, whom we shall call Miss Montague, was at this time introduced into the fashionable world of Dublin by her aunt, the Dowager Lady Rochdale. Miss Montague was decidedly pretty and accomplished, and having some natural cleverness, and a great deal of gaiety, became for a while the reigning toast. Her popularity, however, gained her, for a time, nothing more than that unsubstantial admiration which, however pleasant as an incense to vanity, is by no means necessarily antecedent to matrimony, for, unhappily for the young lady in question, it was an understood thing, that, beyond her personal attractions, she had no kind of earthly provision. Such being the state of affairs, it will readily be believed that no little surprise was consequent upon the appearance of Captain Barton as the avowed lover of the penniless Miss Montague. His suit prospered, as might have been expected, and in a short time it was confidentially communicated by old Lady Rochdale to each of her hundred and fifty particular friends in succession, that Captain Barton had actually tendered proposals of marriage, with her approbation, to her niece, Miss Montague, who had, moreover, accepted the offer of his hand, conditionally upon the consent of her father, who was then upon his homeward voyage from India, and expected in two or three months at furthest. About his consent there could be no doubt. The delay, therefore, was one merely of form; they were looked upon as absolutely engaged, and Lady Rochdale, with a vigour of old-fashioned decorum with which her niece would, no doubt, gladly have dispensed, withdrew her thenceforward from all further participation in the gaieties of the town. Captain Barton was a constant visitor as well as a frequent guest at the house, and was permitted all the privileges and intimacy which a betrothed suitor is usually accorded. Such was the relation of parties, when the mysterious circumstances which darken this narrative with inexplicable melancholy first began to unfold themselves. Lady Rochdale resided in a handsome mansion at the north side of Dublin, and Captain Barton's lodgings, as we have already said, were situated at the south. The distance intervening was considerable, and it was Captain Barton's habit generally to walk home without an attendant, as often as he passed the evening with the old lady and her fair charge. His shortest way in such nocturnal walks lay, for a considerable space, through a line of streets which had as yet been merely laid out, and little more than the foundations of the houses constructed. One night, shortly after his engagement with Miss Montague had commenced, he happened to remain unusually late, in company only with her and Lady Rochdale. The conversation had turned upon the evidences of revelation, which he had disputed with the callous scepticism of a confirmed infidel. What were called "French principles" had, in those days, found their way a good deal into fashionable society, especially that portion of it which professed allegiance to Whiggism, and neither the old lady nor her charge was so perfectly free from the taint as to look upon Captain Barton's views as any serious objection to the proposed union. The discussion had degenerated into one upon the supernatural and the marvellous, in which he had pursued precisely the same line of argument and ridicule. In all this, it is but true to state, Captain Barton was guilty of no affectation; the doctrines upon which he insisted were, in reality, but too truly the basis of his own fixed belief, if so it might be called; and perhaps not the least strange of the many strange circumstances connected with this narrative, was the fact that the subject of the fearful influences we are about to describe was himself, from the deliberate conviction of years, an utter disbeliever in what are usually termed preternatural agencies.
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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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