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Tales of Terror Guy De Maupassant Digital Instant
Download
Author(s): Guy de Maupassant, Arnold Kellett (editor & translator), Ramsey
Campbell (foreword)
ISBN(s): 9781905784127, 1905784120
Edition: Limited edition
File Details: PDF, 9.72 MB
Year: 2021
Language: english
TALES OF
TERROR
by

Guy de Maupassant

Selected and Translated by Arnold Kellett

Foreword by Ramsey Campbell

T artarus Press
TALES OF TERROR
Guy d e Maupassant
TALES OF
TERROR
by

Guy de Maupassant
Selected and Translated by Arnold Kellett

Foreword by Ramsey Campbell

Tartarus Press
 Tales of Terror
by Guy de Maupassant

This edition is published by Tartarus Press, 2008 at

Coverley House, Carlton-in-Coverdale, Leyburn,
North Yorkshire, DL8 4AY.

Some of the stories in this collection were first published in a different form in
Tales of Supernatural Terror (Pan books, 1972) and The Diary of a Madman
(Pan Books, 1976) and were collected in The Dark Side (Xanadu, 1989)
with the Foreword by Ramsey Campbell.

This revised, expanded edition copyright© Tartarus Press, 2008.

Selection, translation, notes and introduction

copyright© Arnold Kellett, 2008.

Foreword© Ramsey Campbell, 2008.

ISBN 978-1-905784-12-7

Tales of Terror
is limited to 300 copies
 CONTENTS
Foreword by Ramsey Campbell V
Introduction by Arnold Kellett lX

The Hoda 1
The Devil 26
Two Friends 34
Fear 42
The Hand 48
Coco 55
The Mannerism 60
The Madwoman 65
Mohammed-Fripouille 69
The Blind Man 78
At Sea 82
Apparition 88
Saint-Antoine 96
The Wolf 105
Terror 111
The Diary of a Madman 118
A Vendetta 126
The Smile of Schopenhauer 131
On the River 136
He? 142
Old Milon 150
The Head of Hair 157
The Inn 165
Mother Savage 178
Was he Mad? 186
The Dead Girl 192
Mademoiselle Cocotte 197
A Night in Paris 203
The Case of Louise Roque 209
The Drowned Man 243
Who Knows? 251
Mademoiselle Perle 264

Notes 279
 FOREWORD
Of all forms of fiction, the fantastic and macabre allow the subcon-
scious to speak most freely. This can mean that the fiction tells truths
about the writer which he would prefer not to admit to himself, or
even that it prefigures how the writer's personality will develop.
Occasionally (as in the case of Arthur Machen) the writer attempts to
create some awesome vision and then experiences it directly himself,
but Machen is a benign exception, who had to turn to the occult in
order to control what was happening to him. Imagine the possibility
that the most intense and disturbing horror fiction may be the writer's
own psychological experience, remembered or foreseen, and you
should appreciate why I say that the writing of some horror fiction is
an act of courage.
It involves inhabiting the dark side of the mind, whether in the act
of imaginatively living through the tale as it is written or drawing on
one's own experience to make the story psychologically true (which
amounts to the same thing). Sometimes the fiction may be an attempt
by the author to objectify an experience he is suffering, in order to
place it outside himself. All three modes seem to be present in the
macabre tales of Guy de Maupassant, and this leads me to regard him
as one of the more courageous writers in this field.

'I'm afraid of myself! I'm afraid of fear, afraid of my

panic-stricken mind, afraid of that horrible sensation of incom-
prehensible terror ... I'm afraid of the walls, of the furniture, of
familiar objects, which seem to me to take on a kind of animal
life. Above all, I am afraid of the horrible confusion of my
thoughts, of the way my reason becomes blurred and elusive,
scattered by a mysterious, invisible anguish ... '

So writes the narrator of 'He?', who later walks into his apart-
ment and finds 'him' sitting in his chair, and one is tempted to hope

V
 Tales of Terror

that Maupassant is inventing these sensations for the sake of the story,
even though he was to say of his own literary method: 'We must feel-
that is everything ... But we must not say, must not write-for the
public-that we have been so shaken.' In his horror fiction it seems
that he abandons understatement, and it won't do to dismiss passages
such as the lines from 'He?' as simple exaggeration. 'On certain days,'
he wrote in a letter, 'I experience the horror of everything that is, to
the point of longing for death.' But that is not all.

'Every other time I come home, I see my double. I open

my door, and I see him sitting in my armchair. I know it for a
hallucination, even while experiencing it. Curious! If I didn't
have a little common sense, I'd be afraid.'

That is not a quotation from 'He?'; that is Maupassant himself

talking to his friend Paul Bourget. Maupassant, like Alfred Hitchcock,
was addicted to practical jokes, and perhaps that was one; it might be
comforting to think so. At the very least it displays an artist's poise,
and the same may be said of his most famous horror story, 'The
Hoda', not least because he published three drafts of it. 'Letter from a
Madman' rounds off an essay on extraordinary perceptions with the
first sight of the Hoda, the second version distances the story by
having a doctor at an insane asylum investigate it without reaching a
conclusion about the narrator's sanity, and the last and best-known
version appears herein. All this may be evidence of Maupassant's
willingness to work at the story until it satisfied him-but perhaps it is
also evidence of an obsession, particularly since the telling of the tale
becomes progressively less distanced from the vision of the narrator.

'Thinking becomes an abominable torment when the brain

is but a sore. There are so many bruises inside my head that my
ideas cannot stir without making me want to scream. Why?
Why? ... And there are days when I do not think these things,
but suffer anyway, for I am one of those who have been skinned
alive ... '

So Maupassant wrote in a letter some years before his death. Can

his mental condition have been partly the result of the strain of
writing-of attempting to render his experiences objective or to

vi
 Foreword

preserve his poise in writing about them? Or must we conclude that at

least some of his horror fiction understated his lived experience?

'I am absolutely lost. I am even dying. l have a softening of

the brain, the result of washing out my nasal passages with salt
water. A saline fermentation has taken place in my brain, and
every night my brain runs out through my nose and mouth in a
sticky paste. This is imminent death and I am mad ... '

This is from a letter Maupassant wrote at the end of December

1891 to his friend Dr Henry Cazalis (who wrote poetry as Jean Lahor).
On New Year's Day Maupassant cut his own throat and called for
help. He had lost his poise at the edge of sanity. He lived, insane, for
another nineteen months.
How eloquent a description of the process leading up to the end
of his life this collection of stories represents is for the reader to
decide. Colin Wilson has suggested that Maupassant's short stories
'should be swallowed in dozens, like oysters; this is the only way to get
the true Maupassant flavour', but I would not advise that in the case of
these tales. Their terrible clarity may not be to everyone's taste, but it
is an achievement to be respected, especially in these faithful yet fluent
translations by Arnold Kellett.
Be warned: the light of these tales may shine into your own dark.

Ramsey Campbell,
Merseyside

vii
 INTRODUCTION

In selecting and translating these powerful tales from a total of 311 by

that acknowledged master of story-telling, Guy de Maupassant, I have
found myself thinking, again and again, that this book really ought to
carry a health-warning. It is certainly not for those with a tendency to
depressive illness, or even for insomniacs, and other victims of an over-
active imagination. Here is stuff that really could keep you awake at
night.
My own addiction to Maupassant began long years ago as a Sixth
Former, when in French classes I first read Le Hor/a-which is one
reason why I place this unique spell-binder first. Though the author's
other contes (short stories) and nouvelles (longer tales) cover a great
variety of topics, I always found those dealing with fear and horror to
be the most compelling, and eventually, in 1969, I published an anno-
tated selection of such stories, Contes du Surnaturel (Pergamon Press),
and later translated these and others for two Pan Books, Tales of
Supernatural Terror and The Diary of a Madman. I also prepared a
selection for Oxford University Press in simplified English, mainly for
students in the Far East, A Night on the River, and other Strange Tales.
First published in 1976, this has remained popular ever since, and has
even appeared in a bilingual version in Chinese.
This present volume brings together most of the stories I first
prepared for Pan, all thoroughly revised from Maupassant's original
text. It constitutes, as far as I am aware, the first collection of its kind
in English-that is, one which deals exclusively with the dark side of
Maupassant.
There is, of course, a brighter side to this famous writer, as we
might expect from the period in which he lived. To the average
English language reader the France of the late nineteenth century was a
time of elegant frivolity and sexual licence-all that is brought to mind
by 'gay Paree', Toulouse-Lautrec, the Moulin Rouge, the Folies

IX
 Tales of Terror

Bergere, and the somewhat earlier music of Jacques Offenbach, notably

his famous can-can, a dance originally performed in the brothels of
Algeria-done to death, yet still retaining its fresh Parisian vivacity.
Much of this is indeed reflected in the stories of Guy de Maupas-
sant, written between 1875 and 1891. So many of them are light-
hearted, full of joie de vivre, describing carefree boating-parties on the
Seine, for example, in which Maupassant is himself depicted in a
painting by Renoir. They abound in lively scenes of eating, drinking,
and making merry-especially with prostitutes. Even in what is surely
his best-known story, La Parure (The Necklace), the struggling poverty
of the heroine results from her romantic ambition to be the belle of a
high-society ball.
Moreover Maupassant had such a keen sense of humour that
whether he was depicting the hard life and miserly ways of Normandy
peasants, the brutality of the Franco-Prussian War, the world of obse-
quious civil servants, pompous officials, petty politicians, nagging
wives, drunken husbands-and almost every facet of his contemporary
society-he so often wrote as a terse and cynical raconteur, who could
scarcely resist constant touches of dry, ironical humour, and who
sometimes indulged in frank and rollicking Gallic fun.
Yet beneath the fashionable public exterior of wit and pleasure-
seeking, there was a private Maupassant, whose desperate unhappiness
and inner world of morbidity and terror he reveals to us in stories such
as those presented in this book. There are others, too-some so un-
savoury, or so grim and obsessive-that we lose nothing by excluding
them. But those which follow are, I believe, absolutely characteristic,
and sufficiently varied.
To understand the mind of Maupassant it is obviously helpful to
know a little about his life. Henri Rene Albert Guy de Maupassant was
born on the 5th August, 1850 in the chateau of Miromesnil, near
Dieppe. When Guy was only six, soon after his brother Herve was
born, the father left Laure de Maupassant to bring up the boys on her
own. She moved further down the Normandy coast to picturesque
Etretat, where Guy was allowed to mix freely with seamen and peas-
ants, developing a great enthusiasm for life in the open air, including
fishing, hunting, and a love of dogs.
At thirteen he was sent to a strict Catholic boarding-school at
Yvetot, where he was unhappy, badly behaved, and from where he was
eventually expelled. When the family moved to Rouen the brothers

X
 Introduction

went to a small private school, then in 1868 Guy became a boarder at

the College Imperial, passing his baccalaureat the following year. From
this period an important influence was Gustave Flaubert, author of
Madame Bovary (1857), who was a close friend of Guy's mother, and
lived at Croisset, near Rouen.
In October 1869 Maupassant joined his stock-broker father in
Paris, and started to study for a degree in law at the Sorbonne. The
following year, 1870, the Franco-Prussian war broke out, and Maupas-
sant enlisted in the army. Though he saw little fighting, he experienced
many hardships, including the siege of Paris, and developed a hatred
for war in general, and Prussian officers in particular.
After demobilisation in November, 1871, the young Maupassant,
warned by Flaubert that it was too soon to risk writing for a living,
started work as a poorly-paid civil servant, first with the Ministere de
la Marine, later in the Ministere de !'Instruction Publique (Education).
He hated office-life as much as the army, but kept physically fit by
boating on the Seine, and mentally active by joining the circle of
successful writers who had gathered round Flaubert.
He later testified how much he owed to Flaubert, 'man cher
maftre', who for seven years had made constructive criticism of his
attempts at writing, teaching him his own disciplined, objective style.
By 1880 Flaubert was satisfied that Maupassant could be safely
launched on a literary career, declaring his Boule de Sui(, published in
a collection by Emile Zola, to be a masterpiece. From his busy pen
there now poured a stream of successful work, including six novels and
numerous articles, but mainly short stories, which first appeared in
papers and periodicals such as Le Figaro, Le Gaulois and Gil Blas.
Calling himself an industriel des lettres (literature manufacturer),
writing mainly for money, his financial success meant that he could
build a villa at Etretat, buy a house for his mother at Nice, and a yacht
for cruising on the Mediterranean. He travelled widely, visiting
Switzerland, Corsica, Italy, Sicily and Algeria, with a short stay in
England in 1886. Everywhere he went, everybody he met, provided
material for his short stories.
Yet underneath this flamboyant, bohemian life-style was a man
fighting a losing battle against an insidious and devastating disease.
Maupassant had always led an immoral and promiscuous life, detesting
women, yet constantly attracted to them. It is not surprising that not
only is he said to have fathered three illegitimate children, but he also

XI
 Tales of Terror

became infected with syphilis, probably during his twenties. This led to
drug-taking-hashish, cocaine, morphine, and especially ether-and
gave him blinding headaches and eye-trouble. Towards the end of his
short life the disease began to attack his brain, producing hallucina-
tions.
After firing revolver shots at an imaginary enemy at his home in
Cannes, he attempted suicide by cutting his throat. Like his younger
brother before him, Maupassant was now declared to be insane, and
taken to an asylum in Paris, where, after suffering the most bizarre
hallucinations and exhibiting the strangest behaviour, he died on 6th
July, 1893, not quite forty-three years old.
The question immediately arises: are these tales of supernatural
terror and gruesome horror simply the work of an author who was
mad? Absolutely not. All those who have studied Maupassant take the
view that until this suicide-attempt at Cannes, he was perfectly lucid
and rational. What is more, he made a point of saying this himself, in
his letters, and it is confirmed by his neatly-written manuscripts in the
Bibliotheque Nationale.
The position, in fact, was this: he wrote, not as a psychotic, but as
a man approaching the frontiers of madness, terrified at the prospect of
losing his reason, obsessed with the thought of premature death. This
is perfectly demonstrated in the first story of this volume, 'The Horla',
where the diary discloses a mounting dread of incipient insanity, and
by the story, 'Who Knows?', in which Maupassant anticipates his own
tragic fate.
Far from being insane when he wrote these stories, Maupassant,
the naturaliste, writing in the new age of photography, trained by
Flaubert to search for le mot juste (the right word) as an impassive and
precise recorder of human society, simply turned his analytical gaze
inwards. Instead of writing about the outside world (where, in any
case, he had always probed beneath the surface) he now became
increasingly introspective, scrutinising everything produced by his
terror-stricken imagination. This is why these pages contain some of
the finest descriptions ever penned of what it is like to be scared to
death.
In addition to his relentless, incurable disease, other factors led
Maupassant to choose these sombre topics. From an early age he had a
morbid streak, encouraged by the poet Swinburne, who once presented
the fourteen-year-old Maupassant with the mummified hand of a

XU
 Introduction

parricide, as a reward for helping to rescue him from drowning near

Etretat. His morbidity was further encouraged by his re~ ding of the
fantastic tales of E.T.A. Hoffman and Edgar Allan Poe, the latter
translated into French by Baudelaire by 1865. He was also greatly
influenced by the atheistic philosophy of Arthur Schopenhauer (1788-
1860), with its pessimistic emphasis on the inevitability of suffering.
Though there is ample evidence that Maupassant knew how to enjoy
himself, the majority of his stories are tinged with pessimism and mis-
anthropy.
Then, of course, Maupassant wrote stories of this kind because he
knew they would be popular. E.A. Poe's Tales of Mystery and Imagina-
tion and J.B. D'Aurevilly's Les Diaboliques had whetted the appetite
for more stories of horrific, unsolved murders with overtones of the
supernatural. There was also a renewed interest in all kinds of occult
topics, especially F.A. Mesmer's 'animal magnetism', which was being
revived by the physician J.M. Charcot, whose popular lectures on hyp-
notism Maupassant actually attended.
Our author was certainly a man of his time, but his themes are
universal. It is no surprise that he has been enthusiastically acclaimed
by writers with such differing backgrounds as Turgenev, Somerset
Maugham and William Saroyan, and translated into so many different
languages. It is not just a matter of his skill, but of his eye for a subject.
He knew what his readers wanted-and what they always want. The
public still has the same insatiable appetite for the mysterious and the
shocking, for blood and death, and dread of the nameless unknown.
But is it right to feed this appetite? Is there any ethical justifica-
tion for bringing together these potent tales of gloom and horror? I
believe there is. In my view, here is so much that is downright honest
and compassionate that the final effect is positive, even therapeutic. It
is the old Greek idea of catharsis: to witness the suffering of someone
else purges us through pity and fear. It makes us feel better, because it
could so easily have happened to us, and has not. These stories were
cathartic for Maupassant himself-he was working it out of his system,
as it were. They can also be cathartic for us.
The element of compassion is even more important. Many of
these stories involve, for example, some harrowing death, especially
the loss of an only child. 'Pauvre vieille!' exclaims the doctor, moved
by the sight of the grief-stricken mother of Louise Roque, raped and
murdered at the age of twelve. With such simple ingredients as this

Xlll
 Tales of Terror

comment Maupassant moves his readers to compassion, and arouses

our revulsion for man's inhumanity to man. There is, I believe, a
hidden depth in these stories. They are cries of anguish and of protest.
Maupassant, the allegedly dispassionate reporter, holding a mirror up
to life, is really saying: Look at this! These things should not be
allowed to happen!
So now let him speak for himself, button-holing us, holding our
attention, usually by speaking in the first person, through a diary, a
letter, or an anecdote told by somebody else, arising out of a chance
remark-but always keeping our interest to the end. Then, without
moralising, without any gloating, he rapidly lowers the curtain, and is
gone.
As for the translation itself, Maupassant is easy to read, but
notoriously difficult to translate, mainly because of his compression
and strict economy of style. His habitual brevity constantly challenges
the translator to search for an adequate English equivalent, especially
when certain of his characters speak an authentic, comically-clipped
Normandy dialect.
I can only say that in all these stories I have tried to keep the
flavour of the original, and especially to reflect the amazing clarity of
this writer agonising on the fringe of madness. As Rivarol remarked:
'Ce qui n'est pas clair, n'est pas fran(ais'-what isn't clear, isn't French.
I trust you will find that Maupassant is a supreme example of this
happy French tradition, even in his darkest moments.

Arnold Kellett,
Knaresborough, North Yorkshire.

xiv
 THEHORLA
May 8th. What a glorious day! I have spent the whole morning lying in
the grass in front of my house under the great plane-tree which towers
above it, providing complete shelter and shade ... I love this district,
and I love living here, because this is where I have my roots, those
deep yet delicate roots which bind a man to the soil where his fore-
fathers lived and died, roots which bind him to the way local people
think, to what they eat, to the customs, the dishes, the dialect, the
intonation of the country folk's voices, the smell of the soil, of the
villages, of the very air.
I love this house of mine in which I have grown to manhood.
From my windows I can see the Seine which flows past my garden, on
the other side of the road, almost on my doorstep-the great, broad
Seine which flows from Rouen to Le Havre, laden with passing ships.
Away to my left is Rouen, the city where blue roof-tops lie
beneath a bristling throng of Gothic spires. These belfries seem innu-
merable-some slender, some sturdy, all of them dominated by the tall
iron spire of the cathedral; and they are filled with bells which ring out
in the blue sky of fine mornings, sending me their gentle, faraway hum
of iron and their chimes of bronze, carried to me through the air, now
louder, now fainter, rising and falling with the swell of the breeze.
What a lovely morning it has been! At about eleven o'clock a long
line of ships sailed past my gate, pulled along by a tug which looked
the size of a fly, wheezing away as it struggled, and belching forth
dense clouds of smoke.
These were followed by two British schooners, with their red
ensign fluttering in the breeze, and then came a magnificent Brazilian
three-master, completely white, remarkably clean, and gleaming all
over. For some reason or other I waved to it-probably just out of the
sheer pleasure of seeing it.

1
 Tales of Terror

May 12th. I have had a bit of a temperature for a few days. I

don't feel at all well-or, to be more accurate, I feel depressed.
Where do these mysterious influences come from-the influences
which change our happiness into despondency and our self-confidence
into misery? You would think that the air, the unseen air, is full of
incomprehensible powers, whose mysterious proximity has an effect
on us. I wake up full of the joys of life, ready to burst into song ...
Why? ... I walk along the river-bank and suddenly, after walking just
a short distance, I come back feeling terribly depressed, as though
some misfortune were waiting for me at home ... Why? . . . Is it
because a breath of cold air, passing over my skin, has upset my nerves
and brought this gloom into my heart? Is it the shape of the clouds, or
the tone of the daylight, or the ever-changing colour of the world
around me, which has entered my eyes and disturbed my thoughts?
Who can tell? Everything around us, everything we see without really
looking at, everything we brush against without really noticing, every-
thing we touch without really feeling, everything we encounter with-
out really observing-all these things have on us, on our organs of
sense, and through them, on our thoughts and feelings, an effect that is
swift, amazing, impossible to account for.
How deep it is, this mystery of the Invisible. We cannot plumb its
depths with our wretched senses, with our eyes, which are incapable of
perceiving things that are too small, things that are too big, things too
far away, the inhabitants of a star-or the inhabitants of a drop of
water ... And our ears deceive us, because they convey to us vibra-
tions in the air in the form of sounds-they are like fairies performing
this miracle of changing movement into sound, and through this trans-
formation they give birth to music, turning into melody the silent
rhythms of nature ... And what of our sense of smell, inferior to that
possessed by a dog . . . And our sense of taste, which can scarcely
detect the age of a wine!
Ah! If only we had other sense-organs to work other miracles for
us, who can tell how many more things we should discover in the
world around us?
May 16th. I am ill-there's no doubt about it. And yet I felt so
well last month. I have a fever, a terrible fever, or rather a feverish
irritation of my nerves which afflicts my mind just as much as my
body. I constantly have this dreadful sensation of being threatened by
some danger, this feeling of imminent disaster or encroaching death,

2
 The Horla

this state of apprehension which is no doubt caused by the onset of

some hitherto unknown disease incubating in my blood and flesh.
May 18th. I have been to see my doctor, for I am getting no sleep
at all. He found my pulse rapid, my pupils dilated, my nerves on
edge-but no symptom of anything seriously wrong. He has advised
me to have cold showers, and take potassium bromide.
May 25th. No change. My condition is really most peculiar. As
evening approaches I feel myself being overcome by an unaccountable
state of anxiety, as if the night concealed some terrible menace,
destined for me. I eat my dinner hurriedly, then I try to read; but I
can't understand the words I am reading; I can hardly make the letters
out. Then I walk up and down my drawing-room, oppressed by a
vague but overmastering fear-fear of sleep, and fear of my bed.
At about two o'clock in the morning I go up to my bedroom. The
minute I get inside I double-lock the door and shoot the bolts. I'm
afraid ... But what am I afraid of? I never used to be afraid of any-
thing before ... But now I open my cupboards, look under my bed,
and listen ... and listen ... What is it I expect to hear? ... Isn't it
strange that a simple indisposition-perhaps some disturbance of the
circulation, an irritation of the nervous system, some slight inflam-
mation, just a tiny irregularity in the imperfect, delicate working of this
living machine of ours-isn't it strange that it can turn the most cheer-
ful of men into a pessimist and the bravest of men into a coward? ...
Well, then I go to bed, and wait for sleep, just as a condemned man
might wait for the executioner. I wait for it, terrified at the prospect of
its arrival, with my heart pounding and my legs trembling-and the
whole of my body lies shuddering in the warmth of the sheets, up to
the moment when I suddenly drop off to sleep-like someone falling
into a deep pool of stagnant water, and getting drowned. I never feel it
coming over me, as I used to, this treacherous sleep which seems to
lurk quite near me, spying on me, ready to pounce on my face, close
my eyes and destroy me.
I sleep for a comparatively long time-perhaps two or three
hours-then a dream-no, a nightmare-seizes me in its grip. I am
fully awart; that I am lying down and that I am asleep ... I am aware
of this, and I actually see it ... and I am also aware that somebody is
coming up to me, looking at me, running his fingers over me, climbing
on to my bed, kneeling on my chest, taking me by the throat and
squeezing ... squeezing with all his strength, trying to strangle me.,

3
 Tales of Terror

I struggle desperately to get free, but I am tied down by that

appalling feeling of helplessness which paralyses us in our dreams. I
want to cry out-but I can't. I want to move-and I can't. Gasping for
breath, making terrible, strenuous efforts, I try to turn on my side, try
to throw off this creature who is crushing and choking me-but I
can't!
Then, suddenly, I wake up, panic-stricken, drenched in sweat. I
light a candle. I am all alone.
After this attack, which comes upon me every night, I am able to
enjoy a peaceful sleep until dawn.
June 2nd. My condition has got even worse. What on earth is the
matter with me? The bromide has done no good; neither have the cold
showers ... The other day, just to tire out my body-which in a sense
is already exhausted-I went for a walk in the Forest of Roumare. At
first I thought that the fresh air-so light, sweet, and full of the
fragrance of grass and foliage-would somehow pour new blood into
my veins, and give my heart a new burst of energy. I walked along one
of those big tracks used by hunters, then I made for La Bouille, turning
down an avenue which runs between two dense rows of enormously
tall trees whose branches shut out the sky above me by forming a thick
roof of dark green.
Suddenly a curious shudder ran through my body-not a shiver
caused by the cold, but a strange shudder of terror.
I quickened my pace, ill at ease because I was all on my own in
this wood, afraid for no particular reason, frightened, rather stupidly,
by the absolute solitude. Then, suddenly, I got the feeling that some-
body was following me, walking just behind me, nearly treading on my
heels, close enough to touch me.
Abruptly, I stopped and turned round. I was entirely alone. All I
could see were the tall trees of the straight, broad avenue, terrifyingly
empty. And when I turned round again I could see the avenue
continuing in front of me, stretching as far as I could see, empty in
exactly the same way, and frightening to behold.
I shut my eyes-I don't know why. And I started to spin round on
one heel, very rapidly, like a top. I made myself so dizzy I nearly fell.
When I opened my eyes the trees seemed to be dancing about and the
ground was swaying. I had to sit down . . . And then-oh, it was
terrible! I couldn't remember which direction I had come from. What
an uncanny feeling it was! How strange! How very strange! I simply

4
Exploring the Variety of Random
Documents with Different Content
 History - Course Outline
Second 2022 - School

Prepared by: Assistant Prof. Jones

Date: July 28, 2025

Section 1: Problem-solving strategies and techniques

Learning Objective 1: Research findings and conclusions
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 2: Interdisciplinary approaches
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 2: Diagram/Chart/Graph]
Learning Objective 3: Current trends and future directions
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 3: Diagram/Chart/Graph]
Learning Objective 4: Historical development and evolution
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Learning Objective 5: Practical applications and examples
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 5: Interdisciplinary approaches
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Case studies and real-world applications
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Remember: Experimental procedures and results
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 8: Literature review and discussion
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 9: Interdisciplinary approaches
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Summary 2: Current trends and future directions
Practice Problem 10: Case studies and real-world applications
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Interdisciplinary approaches
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Practical applications and examples
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 13: Diagram/Chart/Graph]
Key Concept: Fundamental concepts and principles
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Practical applications and examples
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Theoretical framework and methodology
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Current trends and future directions
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 17: Diagram/Chart/Graph]
Note: Assessment criteria and rubrics
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 18: Diagram/Chart/Graph]
Note: Interdisciplinary approaches
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 19: Diagram/Chart/Graph]
Definition: Historical development and evolution
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
References 3: Key terms and definitions
Note: Practical applications and examples
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Best practices and recommendations
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Fundamental concepts and principles
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Practical applications and examples
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Assessment criteria and rubrics
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Study tips and learning strategies
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Interdisciplinary approaches
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Key Concept: Interdisciplinary approaches
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Practical applications and examples
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 29: Diagram/Chart/Graph]
Practice Problem 29: Experimental procedures and results
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 30: Diagram/Chart/Graph]
Appendix 4: Current trends and future directions
Important: Fundamental concepts and principles
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 31: Study tips and learning strategies
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Fundamental concepts and principles
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Practice Problem 33: Literature review and discussion
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 34: Critical analysis and evaluation
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Assessment criteria and rubrics
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 36: Fundamental concepts and principles
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 37: Ethical considerations and implications
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 38: Fundamental concepts and principles
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Definition: Comparative analysis and synthesis
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Background 5: Current trends and future directions
Key Concept: Assessment criteria and rubrics
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Current trends and future directions
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Remember: Critical analysis and evaluation
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 43: Diagram/Chart/Graph]
Note: Assessment criteria and rubrics
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 44: Statistical analysis and interpretation
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Important: Historical development and evolution
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 46: Historical development and evolution
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 47: Diagram/Chart/Graph]
Practice Problem 47: Statistical analysis and interpretation
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Practice Problem 48: Historical development and evolution
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Comparative analysis and synthesis
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Quiz 6: Statistical analysis and interpretation
Key Concept: Case studies and real-world applications
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Critical analysis and evaluation
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 52: Diagram/Chart/Graph]
Example 52: Comparative analysis and synthesis
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Assessment criteria and rubrics
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 54: Learning outcomes and objectives
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Note: Practical applications and examples
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 56: Statistical analysis and interpretation
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 57: Diagram/Chart/Graph]
Definition: Theoretical framework and methodology
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
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