Every Friday this October we’ve unveiled a part of Fitz-James O’Brien’s tale of an unusual entity in What Was It?, a story from the spine-tingling collection of works in Horror Stories: Classic Tales from Hoffmann to Hodgson, edited by Darryl Jones. Today we’re wrapping up the story with the final installment. Last we left off the narrator, Harry, and his friend, Hammond, tied up an invisible entity, shocking the boarders of the haunted home where they had been staying. Will they learn more about the mysterious creature?
We watched together, smoking many pipes, all night long, by the bedside of the unearthly being that tossed and panted until it was apparently wearied out. Then we learned by the low, regular breathing that it slept.
The next morning the house was all astir. The boarders congregated on the landing outside my room, and Hammond and myself were lions. We had to answer a thousand questions as to the state of our extraordinary prisoner, for as yet not one person in the house except ourselves could be induced to set foot in the apartment.
The creature was awake. This was evidenced by the convulsive manner in which the bed-clothes were moved in its efforts to escape. There was something truly terrible in beholding, as it were, those second-hand indications of the terrible writhings and agonized struggles for liberty which themselves were invisible.
Hammond and myself had racked our brains during the long night to discover some means by which we might realize the shape and general appearance of the Enigma. As well as we could make out by passing our hands over the creature’s form, its outlines and lineaments were human. There was a mouth; a round, smooth head without hair; a nose, which, however, was little elevated above the cheeks; and its hands and feet felt like those of a boy. At first we thought of placing the being on a smooth surface and tracing its outline with chalk, as shoemakers trace the outline of the foot. This plan was given up as being of no value. Such an outline would give not the slightest idea of its conformation.
A happy thought struck me. We would take a cast of it in plaster of Paris. This would give us the solid figure, and satisfy all our wishes. But how to do it? The movements of the creature would disturb the setting of the plastic covering, and distort the mould. Another thought. Why not give it chloroform? It had respiratory organs,—that was evident by its breathing. Once reduced to a state of insensibility, we could do with it what we would. Doctor X—— was sent for; and after the worthy physician had recovered from the first shock of amazement, he proceeded to administer the chloroform. In three minutes afterward we were enabled to remove the fetters from the creature’s body, and a modeller was busily engaged in covering the invisible form with the moist clay. In five minutes more we had a mould, and before evening a rough fac-simile of the Mystery. It was shaped like a man,—distorted, uncouth, and horrible, but still a man. It was small, not over four feet and some inches in height, and its limbs revealed a muscular development that was unparalleled. Its face surpassed in hideousness anything I had ever seen. Gustave Doré, or Callot, or Tony Johannot, never conceived anything so horrible. There is a face in one of the latter’s illustrations to Un Voyage où il vous plaira, which somewhat approaches the countenance of this creature, but does not equal it. It was the physiognomy of what I should fancy a ghoul might be. It looked as if it was capable of feeding on human flesh.
Having satisfied our curiosity, and bound every one in the house to secrecy, it became a question what was to be done with our Enigma? It was impossible that we should keep such a horror in our house; it was equally impossible that such an awful being should be let loose upon the world. I confess that I would have gladly voted for the creature’s destruction. But who would shoulder the responsibility? Who would undertake the execution of this horrible semblance of a human being? Day after day this question was deliberated gravely. The boarders all left the house. Mrs Moffat was in despair, and threatened Hammond and myself with all sorts of legal penalties if we did not remove the Horror. Our answer was, ‘We will go if you like, but we decline taking this creature with us. Remove it yourself if you please. It appeared in your house. On you the responsibility rests.’ To this there was, of course, no answer. Mrs Moffat could not obtain for love or money a person who would even approach the Mystery.
The most singular part of the affair was that we were entirely ignorant of what the creature habitually fed on. Everything in the way of nutriment that we could think of was placed before it, but was never touched. It was awful to stand by, day after day, and see the clothes toss, and hear the hard breathing, and know that it was starving.
Ten, twelve days, a fortnight passed, and it still lived. The pulsations of the heart, however, were daily growing fainter, and had now nearly ceased. It was evident that the creature was dying for want of sustenance. While this terrible life-struggle was going on, I felt miserable. I could not sleep. Horrible as the creature was, it was pitiful to think of the pangs it was suffering.
At last it died. Hammond and I found it cold and stiff one morning in the bed. The heart had ceased to beat, the lungs to inspire. We hastened to bury it in the garden. It was a strange funeral, the dropping of that viewless corpse into the damp hole. The cast of its form I gave to Doctor X——, who keeps it in his museum in Tenth Street.
As I am on the eve of a long journey from which I may not return, I have drawn up this narrative of an event the most singular that has ever come to my knowledge.
Missed a part of the story? Catch up with part 1, 2, 3, and 4 for a frightening Halloween read.
Featured image credit: What happened by Thomas Mues. CC 2.0 via Flickr.
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