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The Call of Cthulhu By H. P. Lovecraft, I Part 1 - The Horror In Clay

I Part 1 - The Horror In Clay

Of such great powers or beings there may be conceivably a survival…a survival of a hugely remote period when…consciousness was manifested, perhaps, in shapes and forms long since withdrawn before the tide of advancing humanity…forms of which poetry and legend alone have caught a flying memory and called them gods, monsters, mythical beings of all sorts and kinds…— Algernon Blackwood

The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the light into the peace and safety of a new dark age.

Theosophists have guessed at the awesome grandeur of the cosmic cycle wherein our world and human race form transient incidents. They have hinted at strange survivals in terms which would freeze the blood if not masked by a bland optimism. But it is not from them that there came the single glimpse of forbidden eons which chills me when I think of it and maddens me when I dream of it. That glimpse, like all dread glimpses of truth, flashed out from an accidental piecing together of separated things—in this case an old newspaper item and the notes of a dead professor. I hope that no one else will accomplish this piecing out; certainly, if I live, I shall never knowingly supply a link in so hideous a chain. I think that the professor, too intended to keep silent regarding the part he knew, and that he would have destroyed his notes had not sudden death seized him.

My knowledge of the thing began in the winter of 1926–27 with the death of my great–uncle, George Gammell Angell, Professor Emeritus of Semitic Languages in Brown University, Providence, Rhode Island. Professor Angell was widely known as an authority on ancient inscriptions, and had frequently been resorted to by the heads of prominent museums; so that his passing at the age of ninety–two may be recalled by many. Locally, interest was intensified by the obscurity of the cause of death. The professor had been stricken whilst returning from the Newport boat; falling suddenly; as witnesses said, after having been jostled by a nautical–looking negro who had come from one of the queer dark courts on the precipitous hillside which formed a short cut from the waterfront to the deceased's home in Williams Street. Physicians were unable to find any visible disorder, but concluded after perplexed debate that some obscure lesion of the heart, induced by the brisk ascent of so steep a hill by so elderly a man, was responsible for the end. At the time I saw no reason to dissent from this dictum, but latterly I am inclined to wonder—and more than wonder.

As my great–uncle's heir and executor, for he died a childless widower, I was expected to go over his papers with some thoroughness; and for that purpose moved his entire set of files and boxes to my quarters in Boston. Much of the material which I correlated will be later published by the American Archaeological Society, but there was one box which I found exceedingly puzzling, and which I felt much averse from showing to other eyes. It had been locked and I did not find the key till it occurred to me to examine the personal ring which the professor carried in his pocket. Then, indeed, I succeeded in opening it, but when I did so seemed only to be confronted by a greater and more closely locked barrier. For what could be the meaning of the queer clay bas–relief and the disjointed jottings, ramblings, and cuttings which I found? Had my uncle, in his latter years become credulous of the most superficial impostures? I resolved to search out the eccentric sculptor responsible for this apparent disturbance of an old man's peace of mind.

The bas–relief was a rough rectangle less than an inch thick and about five by six inches in area; obviously of modern origin. Its designs, however, were far from modern in atmosphere and suggestion; for, although the vagaries of cubism and futurism are many and wild, they do not often reproduce that cryptic regularity which lurks in prehistoric writing. And writing of some kind the bulk of these designs seemed certainly to be; though my memory, despite much the papers and collections of my uncle, failed in any way to identify this particular species, or even hint at its remotest affiliations.

Above these apparent hieroglyphics was a figure of evident pictorial intent, though its impressionistic execution forbade a very clear idea of its nature. It seemed to be a sort of monster, or symbol representing a monster, of a form which only a diseased fancy could conceive. If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing. A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. Behind the figure was a vague suggestion of a Cyclopean architectural background.

The writing accompanying this oddity was, aside from a stack of press cuttings, in Professor Angell's most recent hand; and made no pretense to literary style. What seemed to be the main document was headed "CTHULHU CULT" in characters painstakingly printed to avoid the erroneous reading of a word so unheard–of. This manuscript was divided into two sections, the first of which was headed "1925—Dream and Dream Work of H.A. Wilcox, 7 Thomas St., Providence, R. I. ", and the second, "Narrative of Inspector John R. Legrasse, 121 Bienville St., New Orleans, La., at 1908 A. A. S. Mtg.—Notes on Same, & Prof. Webb's Acct." The other manuscript papers were brief notes, some of them accounts of the queer dreams of different persons, some of them citations from theosophical books and magazines (notably W. Scott–Elliot's Atlantis and the Lost Lemuria), and the rest comments on long–surviving secret societies and hidden cults, with references to passages in such mythological and anthropological source–books as Frazer's Golden Bough and Miss Murray's Witch–Cult in Western Europe. The cuttings largely alluded to outré mental illness and outbreaks of group folly or mania in the spring of 1925.

The first half of the principal manuscript told a very particular tale. It appears that on March 1st, 1925, a thin, dark young man of neurotic and excited aspect had called upon Professor Angell bearing the singular clay bas–relief, which was then exceedingly damp and fresh. His card bore the name of Henry Anthony Wilcox, and my uncle had recognized him as the youngest son of an excellent family slightly known to him, who had latterly been studying sculpture at the Rhode Island School of Design and living alone at the Fleur–de– Lys Building near that institution. Wilcox was a precocious youth of known genius but great eccentricity, and had from childhood excited attention through the strange stories and odd dreams he was in the habit of relating. He called himself "psychically hypersensitive", but the staid folk of the ancient commercial city dismissed him as merely "queer." Never mingling much with his kind, he had dropped gradually from social visibility, and was now known only to a small group of esthetes from other towns. Even the Providence Art Club, anxious to preserve its conservatism, had found him quite hopeless.

On the occasion of the visit, ran the professor's manuscript, the sculptor abruptly asked for the benefit of his host's archeological knowledge in identifying the hieroglyphics of the bas–relief. He spoke in a dreamy, stilted manner which suggested pose and alienated sympathy; and my uncle showed some sharpness in replying, for the conspicuous freshness of the tablet implied kinship with anything but archeology. Young Wilcox's rejoinder, which impressed my uncle enough to make him recall and record it verbatim, was of a fantastically poetic cast which must have typified his whole conversation, and which I have since found highly characteristic of him. He said, "It is new, indeed, for I made it last night in a dream of strange cities; and dreams are older than brooding Tyre, or the contemplative Sphinx, or garden–girdled Babylon."

It was then that he began that rambling tale which suddenly played upon a sleeping memory and won the fevered interest of my uncle. There had been a slight earthquake tremor the night before, the most considerable felt in New England for some years; and Wilcox's imagination had been keenly affected. Upon retiring, he had had an unprecedented dream of great Cyclopean cities of Titan blocks and sky–flung monoliths, all dripping with green ooze and sinister with latent horror. Hieroglyphics had covered the walls and pillars, and from some undetermined point below had come a voice that was not a voice; a chaotic sensation which only fancy could transmute into sound, but which he attempted to render by the almost unpronounceable jumble of letters: "Cthulhu fhtagn."

This verbal jumble was the key to the recollection which excited and disturbed Professor Angell. He questioned the sculptor with scientific minuteness; and studied with frantic intensity the bas–relief on which the youth had found himself working, chilled and clad only in his night clothes, when waking had stolen bewilderingly over him. My uncle blamed his old age, Wilcox afterwards said, for his slowness in recognizing both hieroglyphics and pictorial design. Many of his questions seemed highly out of place to his visitor, especially those which tried to connect the latter with strange cults or societies; and Wilcox could not understand the repeated promises of silence which he was offered in exchange for an admission of membership in some widespread mystical or paganly religious body. When Professor Angell became convinced that the sculptor was indeed ignorant of any cult or system of cryptic lore, he besieged his visitor with demands for future reports of dreams. This bore regular fruit, for after the first interview the manuscript records daily calls of the young man, during which he related startling fragments of nocturnal imagery whose burden was always some terrible Cyclopean vista of dark and dripping stone, with a subterrene voice or intelligence shouting monotonously in enigmatical sense–impacts uninscribable save as gibberish. The two sounds frequently repeated are those rendered by the letters "Cthulhu" and "R'lyeh."

On March 23, the manuscript continued, Wilcox failed to appear; and inquiries at his quarters revealed that he had been stricken with an obscure sort of fever and taken to the home of his family in Waterman Street. He had cried out in the night, arousing several other artists in the building, and had manifested since then only alternations of unconsciousness and delirium. My uncle at once telephoned the family, and from that time forward kept close watch of the case; calling often at the Thayer Street office of Dr. Tobey, whom he learned to be in charge. The youth's febrile mind, apparently, was dwelling on strange things; and the doctor shuddered now and then as he spoke of them. They included not only a repetition of what he had formerly dreamed, but touched wildly on a gigantic thing "miles high" which walked or lumbered about.

He at no time fully described this object but occasional frantic words, as repeated by Dr. Tobey, convinced the professor that it must be identical with the nameless monstrosity he had sought to depict in his dream–sculpture. Reference to this object, the doctor added, was invariably a prelude to the young man's subsidence into lethargy. His temperature, oddly enough, was not greatly above normal; but the whole condition was otherwise such as to suggest true fever rather than mental disorder.

On April 2 at about 3 P.M. every trace of Wilcox's malady suddenly ceased. He sat upright in bed, astonished to find himself at home and completely ignorant of what had happened in dream or reality since the night of March 22. Pronounced well by his physician, he returned to his quarters in three days; but to Professor Angell he was of no further assistance. All traces of strange dreaming had vanished with his recovery, and my uncle kept no record of his night–thoughts after a week of pointless and irrelevant accounts of thoroughly usual visions.


I Part 1 - The Horror In Clay I Part 1 - The Horror In Clay I Parte 1 - El horror en arcilla I Partie 1 - L'horreur dans l'argile I Parte 1 - O Horror em Clay

Of such great powers or beings there may be conceivably a survival…a survival of a hugely remote period when…consciousness was manifested, perhaps, in shapes and forms long since withdrawn before the tide of advancing humanity…forms of which poetry and legend alone have caught a flying memory and called them gods, monsters, mythical beings of all sorts and kinds…— Algernon Blackwood من بين هذه القوى أو الكائنات العظيمة قد يكون هناك بقاء ... بقاء لفترة بعيدة للغاية عندما ... كان الوعي يتجلى ، ربما ، في أشكال وأشكال منذ فترة طويلة منذ انسحابه قبل موجة تقدم البشرية ... أشكال كان الشعر والأساطير وحدها من خلالها اشتعلت ذكريات طيارة وأطلق عليها الآلهة والوحوش والكائنات الأسطورية من جميع الأنواع والأنواع ... - ألجرنون بلاكوود Von solch großen Mächten oder Wesen mag es ein Überbleibsel geben … ein Überbleibsel aus einer sehr weit entfernten Zeit, als … Bewusstsein sich vielleicht in Gestalten und Gestalten manifestierte, die lange vor der Flut der fortschreitenden Menschheit zurückgezogen waren … Formen, die allein Poesie und Legende haben fing eine fliegende Erinnerung ein und nannte sie Götter, Monster, mythische Wesen aller Art und Weise … – Algernon Blackwood Of such great powers or beings there may be conceivably a survival…a survival of a hugely remote period when…consciousness was manifested, perhaps, in shapes and forms long since withdrawn before the tide of advancing humanity…forms of which poetry and legend alone have caught a flying memory and called them gods, monsters, mythical beings of all sorts and kinds…— Algernon Blackwood De tales grandes poderes o seres puede concebirse una supervivencia... una supervivencia de un período muy remoto cuando... la conciencia se manifestó, tal vez, en figuras y formas que se retiraron hace mucho tiempo antes de la marea del avance de la humanidad... formas de las cuales solo la poesía y la leyenda tienen captó un recuerdo volador y los llamó dioses, monstruos, seres míticos de todo tipo y clase...—Algernon Blackwood De ces grands pouvoirs ou êtres, il peut y avoir une survie… une survie d'une période extrêmement lointaine où… la conscience s'est manifestée, peut-être, sous des formes et des formes retirées depuis longtemps devant la marée de l'humanité en progression… des formes dont seules la poésie et la légende ont attrapa une mémoire volante et les appela des dieux, des monstres, des êtres mythiques de toutes sortes et de toutes sortes…— Algernon Blackwood そのような大国や存在の中には、おそらく生き残りがあるかもしれません…意識が現れた非常に遠い時代の生き残り、おそらく、人類の進歩の潮流の前に撤退してからずっと前の形や形で…詩と伝説だけが持っている形飛んでいる記憶を捕らえ、それらを神、モンスター、あらゆる種類と種類の神話上の存在と呼んだ…—アルジャーノンブラックウッド De tão grandes poderes ou seres pode haver uma sobrevivência... uma sobrevivência de um período imensamente remoto quando... a consciência se manifestou, talvez, em formas e formas há muito retiradas antes da maré da humanidade avançando... formas das quais somente a poesia e a lenda têm pegou uma memória voadora e os chamou de deuses, monstros, seres míticos de todos os tipos e espécies...— Algernon Blackwood 在如此强大的力量或生物中,可能存在一种幸存者……一个极其遥远时期的幸存者,那时……意识以各种形式和形式表现出来,在人类进步的浪潮之前很久就消失了……只有诗歌和传说才有的形式抓住了一个飞扬的记忆,称他们为神,怪物,各种各样的神话生物……——阿尔杰农布莱克伍德

The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. إن أرحم شيء في العالم ، على ما أعتقد ، هو عدم قدرة العقل البشري على الربط بين كل محتوياته. Creo que lo más misericordioso del mundo es la incapacidad de la mente humana para correlacionar todos sus contenidos. La chose la plus miséricordieuse au monde, je pense, est l'incapacité de l'esprit humain à corréler tout son contenu. 世界で最も慈悲深いのは、人間の心がそのすべての内容を相互に関連付けることができないことだと思います。 A coisa mais misericordiosa do mundo, penso eu, é a incapacidade da mente humana de correlacionar todos os seus conteúdos. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. نحن نعيش في جزيرة هادئة من الجهل وسط البحار السوداء اللامتناهية ، ولم يكن من المفترض أن نسافر بعيدًا. Vivimos en una plácida isla de ignorancia en medio de mares negros del infinito, y no se suponía que debiéramos viajar muy lejos. Nous vivons sur une île placide d'ignorance au milieu des mers noires de l'infini, et il n'était pas prévu que nous devions voyager loin. 私たちは無知の穏やかな島に住んでいて、無限の黒い海の真っ只中にあり、遠くまで航海する必要があるという意味ではありませんでした。 Vivemos em uma plácida ilha de ignorância no meio de mares negros do infinito, e não era para viajarmos muito longe. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the light into the peace and safety of a new dark age. العلوم ، كل منها يجهد في اتجاهه الخاص ، لم تؤذينا حتى الآن إلا قليلاً. ولكن في يوم من الأيام ، فإن تجميع المعرفة المنفصلة سيفتح مثل هذه الآفاق المرعبة للواقع ، وموقفنا المخيف فيه ، بحيث إما أن نغضب من الوحي أو نهرب من النور إلى السلام والأمان لعصر مظلم جديد. Las ciencias, cada una esforzándose en su propia dirección, hasta ahora nos han hecho poco daño; pero algún día la unión del conocimiento disociado abrirá perspectivas tan aterradoras de la realidad, y de nuestra espantosa posición en ella, que nos volveremos locos por la revelación o huiremos de la luz hacia la paz y la seguridad de una nueva era oscura. Les sciences, chacune tendant dans sa direction, nous ont jusqu'ici peu nui ; mais un jour, l'assemblage de connaissances dissociées ouvrira des perspectives si terrifiantes de la réalité, et de notre position effrayante dans celle-ci, que nous deviendrons soit fous de la révélation, soit fuirons la lumière vers la paix et la sécurité d'un nouvel âge sombre. As ciências, cada uma se esforçando em sua própria direção, até agora pouco nos prejudicaram; mas algum dia a junção do conhecimento dissociado abrirá visões tão aterrorizantes da realidade, e de nossa assustadora posição nela, que ou enlouqueceremos com a revelação ou fugiremos da luz para a paz e segurança de uma nova era das trevas.

Theosophists have guessed at the awesome grandeur of the cosmic cycle wherein our world and human race form transient incidents. لقد خمّن الثيوصوفيون العظمة الرهيبة للدورة الكونية حيث يشكل عالمنا وجنسنا البشري حوادث عابرة. Los teósofos han adivinado la asombrosa grandeza del ciclo cósmico en el que nuestro mundo y la raza humana forman incidentes transitorios. Os teosofistas adivinharam a grandiosa grandeza do ciclo cósmico em que nosso mundo e a raça humana formam incidentes transitórios. They have hinted at strange survivals in terms which would freeze the blood if not masked by a bland optimism. لقد ألمحوا إلى ناجين غريبين بعبارات من شأنها أن تجمد الدم إن لم تكن ملثمة بتفاؤل لطيف. Han insinuado extrañas supervivencias en términos que helarían la sangre si no estuvieran enmascarados por un optimismo anodino. Ils ont fait allusion à d'étranges survivances dans des termes qui glaceraient le sang s'ils n'étaient pas masqués par un optimisme fade. Eles sugeriram sobrevivências estranhas em termos que congelariam o sangue se não fossem mascarados por um otimismo brando. But it is not from them that there came the single glimpse of forbidden eons which chills me when I think of it and maddens me when I dream of it. لكن ليس من بينهم أن هناك لمحة واحدة عن الدهور المحرمة التي تقشعر لها الأبدان عندما أفكر في الأمر وتجنني عندما أحلم بها. Pero no es de ellos de quienes vino el único atisbo de eones prohibidos que me enfría cuando pienso en ello y me enloquece cuando sueño con ello. Mas não é deles que veio o único vislumbre de eras proibidas que me arrepia quando penso nisso e me enlouquece quando sonho com isso. That glimpse, like all dread glimpses of truth, flashed out from an accidental piecing together of separated things—in this case an old newspaper item and the notes of a dead professor. ومضت تلك اللمحة ، مثل كل لمحات مخيفة من الحقيقة ، من تجميع عرضي لأشياء منفصلة - في هذه الحالة مادة صحيفة قديمة وملاحظات أستاذ ميت. Ese atisbo, como todos los espantosos atisbos de la verdad, surgió de una unión accidental de cosas separadas, en este caso, un artículo de un periódico viejo y las notas de un profesor muerto. Esse vislumbre, como todos os temíveis vislumbres da verdade, surgiu de uma junção acidental de coisas separadas - neste caso, um velho artigo de jornal e as notas de um professor morto. I hope that no one else will accomplish this piecing out; certainly, if I live, I shall never knowingly supply a link in so hideous a chain. آمل ألا ينجز أي شخص آخر هذا التفكيك ؛ بالتأكيد ، إذا كنت أعيش ، فلن أقدم عن قصد رابطًا في سلسلة بشعة جدًا. Espero que nadie más logre este descifrado; ciertamente, si vivo, nunca proporcionaré a sabiendas un eslabón en una cadena tan horrible. Espero que ninguém mais realize esta montagem; certamente, se eu viver, nunca fornecerei conscientemente um elo em uma corrente tão hedionda. Я надеюсь, что никто другой не совершит этого вырезания; конечно, если я буду жить, я никогда сознательно не вставлю звено в такую отвратительную цепь. I think that the professor, too intended to keep silent regarding the part he knew, and that he would have destroyed his notes had not sudden death seized him. أعتقد أن الأستاذ ، كان ينوي أيضًا التزام الصمت فيما يتعلق بالجزء الذي يعرفه ، وأنه كان سيحطم ملاحظاته لم يأسره الموت المفاجئ. Acho que o professor também pretendia calar a parte que sabia, e que teria destruído suas anotações se a morte súbita não o tivesse apoderado.

My knowledge of the thing began in the winter of 1926–27 with the death of my great–uncle, George Gammell Angell, Professor Emeritus of Semitic Languages in Brown University, Providence, Rhode Island. بدأت معرفتي بالأمر في شتاء 1926-1927 بوفاة عمي الأكبر ، جورج غاميل أنجيل ، الأستاذ الفخري للغات السامية في جامعة براون ، بروفيدانس ، رود آيلاند. Meu conhecimento da coisa começou no inverno de 1926-27 com a morte de meu tio-avô, George Gammell Angell, professor emérito de línguas semíticas na Brown University, Providence, Rhode Island. Professor Angell was widely known as an authority on ancient inscriptions, and had frequently been resorted to by the heads of prominent museums; so that his passing at the age of ninety–two may be recalled by many. كان البروفيسور أنجيل معروفًا على نطاق واسع بأنه مرجع في النقوش القديمة ، وكثيراً ما لجأ إليه رؤساء المتاحف البارزة ؛ حتى يتذكر الكثيرون وفاته وهو في الثانية والتسعين. O professor Angell era amplamente conhecido como uma autoridade em inscrições antigas, e era frequentemente utilizado pelos chefes de museus proeminentes; para que seu falecimento aos noventa e dois anos possa ser lembrado por muitos. Locally, interest was intensified by the obscurity of the cause of death. محليا ، اشتد الاهتمام بغموض سبب الوفاة. Localmente, o interesse foi intensificado pela obscuridade da causa da morte. The professor had been stricken whilst returning from the Newport boat; falling suddenly; as witnesses said, after having been jostled by a nautical–looking negro who had come from one of the queer dark courts on the precipitous hillside which formed a short cut from the waterfront to the deceased's home in Williams Street. أصيب الأستاذ أثناء عودته من قارب نيوبورت ؛ السقوط فجأة كما قال شهود عيان ، بعد أن تصادمه رجل زنجي ذو مظهر بحري جاء من أحد الملاعب المظلمة على منحدر التل شديد الانحدار والتي شكلت طريقا مختصرا من الواجهة البحرية إلى منزل المتوفى في شارع ويليامز. El profesor había sido herido cuando regresaba del barco de Newport; cayendo repentinamente; como dijeron los testigos, después de haber sido empujado por un negro de aspecto náutico que había venido de uno de los extraños patios oscuros en la ladera escarpada que formaba un atajo desde el paseo marítimo hasta la casa del difunto en Williams Street. Le professeur avait été frappé en revenant du bateau de Newport ; tomber soudainement; comme l'ont dit des témoins, après avoir été bousculé par un nègre à l'allure nautique qui était venu de l'une des étranges cours sombres sur la colline escarpée qui formait un raccourci du front de mer à la maison du défunt dans Williams Street. O professor foi atingido ao retornar do barco de Newport; caindo repentinamente; como testemunhas disseram, depois de ter sido empurrado por um negro de aparência náutica que viera de uma das estranhas quadras escuras na encosta escarpada que formava um atalho da orla até a casa do falecido na Williams Street. Physicians were unable to find any visible disorder, but concluded after perplexed debate that some obscure lesion of the heart, induced by the brisk ascent of so steep a hill by so elderly a man, was responsible for the end. لم يتمكن الأطباء من العثور على أي اضطراب مرئي ، لكنهم خلصوا بعد نقاش محير إلى أن بعض الآفات الغامضة في القلب ، الناجمة عن الصعود السريع لتل شديد الانحدار من قبل رجل مسن ، كانت مسؤولة عن النهاية. Los médicos no pudieron encontrar ningún trastorno visible, pero concluyeron después de un perplejo debate que alguna oscura lesión del corazón, inducida por el rápido ascenso de una colina tan empinada por parte de un hombre tan anciano, fue la responsable del final. Os médicos não conseguiram encontrar nenhum distúrbio visível, mas concluíram, após um debate perplexo, que alguma lesão obscura do coração, induzida pela rápida subida de uma colina tão íngreme por um homem tão idoso, era a responsável pelo fim. Врачи не смогли найти никакого видимого расстройства, но после озадаченных дебатов пришли к выводу, что причиной смерти стало какое-то неясное поражение сердца, вызванное быстрым восхождением на такой крутой холм таким пожилым человеком. At the time I saw no reason to dissent from this dictum, but latterly I am inclined to wonder—and more than wonder. في ذلك الوقت لم أجد سببًا للاعتراض على هذا القول المأثور ، لكنني أخيرًا أميل إلى التساؤل - وأكثر من التساؤل. Na época, não vi razão para discordar desse ditado, mas ultimamente estou inclinado a admirar - e mais do que admirar.

As my great–uncle's heir and executor, for he died a childless widower, I was expected to go over his papers with some thoroughness; and for that purpose moved his entire set of files and boxes to my quarters in Boston. بصفتي وريث ووصي عمي الأكبر ، لأنه مات أرملًا بدون أطفال ، كان من المتوقع أن أتفحص أوراقه ببعض التفصيل. ولهذا الغرض ، نقل مجموعته الكاملة من الملفات والصناديق إلى مقري في بوسطن. Como heredero y albacea de mi tío abuelo, que murió viudo y sin hijos, se esperaba que revisara sus papeles con cierta minuciosidad; y con ese fin trasladó todo su conjunto de archivos y cajas a mis habitaciones en Boston. Como herdeiro e executor de meu tio-avô, pois ele morreu viúvo sem filhos, esperava-se que eu examinasse seus papéis com alguma meticulosidade; e com esse propósito transferiu todo o seu conjunto de arquivos e caixas para meus aposentos em Boston. 作为我叔叔的继承人和遗嘱执行人,因为他是一个没有孩子的鳏夫,我应该仔细检查他的文件。为此,他把他的整套文件和箱子搬到了我在波士顿的住处。 Much of the material which I correlated will be later published by the American Archaeological Society, but there was one box which I found exceedingly puzzling, and which I felt much averse from showing to other eyes. سيتم نشر الكثير من المواد التي ربطتها لاحقًا من قبل الجمعية الأمريكية لعلم الآثار ، ولكن كان هناك صندوق واحد وجدته محيرًا للغاية ، والذي شعرت بالكره الشديد من عرضه على أعين أخرى. Gran parte del material que correlacioné será publicado más tarde por la Sociedad Arqueológica Estadounidense, pero había una caja que me resultó sumamente desconcertante y que sentí mucha aversión a mostrar a otros ojos. Muito do material que eu correlacionei será publicado mais tarde pela American Archaeological Society, mas havia uma caixa que eu achei extremamente intrigante, e que eu não queria mostrar a outros olhos. 我关联的大部分材料稍后将由美国考古学会出版,但有一个盒子我觉得非常令人费解,我非常不愿意向其他人展示。 It had been locked and I did not find the key till it occurred to me to examine the personal ring which the professor carried in his pocket. لقد تم قفله ولم أجد المفتاح حتى خطر لي بفحص الخاتم الشخصي الذي كان يحمله الأستاذ في جيبه. Estava trancado e só encontrei a chave quando me ocorreu examinar o anel pessoal que o professor trazia no bolso. Then, indeed, I succeeded in opening it, but when I did so seemed only to be confronted by a greater and more closely locked barrier. بعد ذلك ، نجحت بالفعل في فتحه ، لكن عندما فعلت ذلك بدا لي أنني واجهت حاجزًا أكبر وأكثر إحكامًا. Então, de fato, consegui abri-lo, mas quando o fiz parecia apenas ser confrontado por uma barreira maior e mais fechada. For what could be the meaning of the queer clay bas–relief and the disjointed jottings, ramblings, and cuttings which I found? فماذا يمكن أن يكون معنى النقش الطيني الغريب والنقوش المفككة والتشويش والعقل التي وجدتها؟ Pois qual poderia ser o significado do estranho baixo-relevo de barro e das anotações desconexas, divagações e recortes que encontrei? 因为我发现的奇怪的粘土浅浮雕和杂乱无章的草稿、散文和插条的意义是什么? Had my uncle, in his latter years become credulous of the most superficial impostures? هل أصبح عمي ، في سنواته الأخيرة ، ساذجًا من أكثر الخدع سطحية؟ Meu tio, em seus últimos anos, tornou-se crédulo das imposturas mais superficiais? I resolved to search out the eccentric sculptor responsible for this apparent disturbance of an old man's peace of mind. عقدت العزم على البحث عن النحات غريب الأطوار المسؤول عن هذا الاضطراب الواضح لراحة البال لرجل عجوز. Resolvi procurar o excêntrico escultor responsável por essa aparente perturbação da paz de espírito de um velho. 我决定找出造成这明显扰乱老人内心平静的古怪雕塑家。

The bas–relief was a rough rectangle less than an inch thick and about five by six inches in area; obviously of modern origin. كان النقش السفلي عبارة عن مستطيل خشن أقل سمكًا من بوصة واحدة ومساحته حوالي خمس × ست بوصات ؛ من الواضح أنه من أصل حديث. El bajorrelieve era un rectángulo tosco de menos de una pulgada de grosor y de unas cinco por seis pulgadas de área; obviamente de origen moderno. O baixo-relevo era um retângulo áspero com menos de uma polegada de espessura e cerca de cinco por seis polegadas de área; obviamente de origem moderna. Its designs, however, were far from modern in atmosphere and suggestion; for, although the vagaries of cubism and futurism are many and wild, they do not often reproduce that cryptic regularity which lurks in prehistoric writing. ومع ذلك ، كانت تصميماته بعيدة كل البعد عن كونها حديثة في الجو والاقتراح ؛ لأنه ، على الرغم من أن تقلبات التكعيبية والمستقبلية كثيرة ومتوحشة ، إلا أنها لا تُعيد إنتاج هذا الانتظام الغامض الذي يتربص في كتابات ما قبل التاريخ. Sin embargo, sus diseños estaban lejos de ser modernos en su atmósfera y sugerencia; porque, aunque los caprichos del cubismo y el futurismo son muchos y salvajes, no suelen reproducir esa regularidad críptica que acecha en la escritura prehistórica. Seus projetos, no entanto, estavam longe de ser modernos em atmosfera e sugestão; pois, embora os caprichos do cubismo e do futurismo sejam muitos e selvagens, eles não reproduzem com frequência aquela regularidade enigmática que se esconde na escrita pré-histórica. And writing of some kind the bulk of these designs seemed certainly to be; though my memory, despite much the papers and collections of my uncle, failed in any way to identify this particular species, or even hint at its remotest affiliations. ويبدو أن كتابة الجزء الأكبر من هذه التصاميم من نوع ما ؛ على الرغم من أن ذاكرتي ، على الرغم من الكثير من الأوراق ومجموعات عمي ، فشلت بأي شكل من الأشكال في التعرف على هذه الأنواع المعينة ، أو حتى التلميح إلى أبعد انتماءاتها. E escrever de algum tipo a maior parte desses projetos certamente parecia ser; embora minha memória, apesar de muitos papéis e coleções de meu tio, não conseguisse identificar essa espécie em particular, ou mesmo sugerir suas afiliações mais remotas. И большая часть этих рисунков, по-видимому, была написана каким-то образом; хотя моя память, несмотря на множество бумаг и коллекций моего дяди, никоим образом не смогла идентифицировать этот конкретный вид или хотя бы намекнуть на его самые отдаленные связи. 这些设计的大部分似乎肯定是某种形式的写作;尽管我的记忆,尽管我叔叔的许多文件和收藏,无论如何都无法识别这个特定的物种,甚至无法暗示它最遥远的隶属关系。

Above these apparent hieroglyphics was a figure of evident pictorial intent, though its impressionistic execution forbade a very clear idea of its nature. وفوق هذه الكتابات الهيروغليفية الواضحة ، كان هناك شخصية ذات نية تصويرية واضحة ، على الرغم من أن تنفيذها الانطباعي منع فكرة واضحة جدًا عن طبيعتها. Acima desses aparentes hieróglifos havia uma figura de evidente intenção pictórica, embora sua execução impressionista proibisse uma idéia muito clara de sua natureza. 在这些明显的象形文字之上是一个具有明显绘画意图的人物,尽管它的印象主义执行禁止对其性质有一个非常清晰的概念。 It seemed to be a sort of monster, or symbol representing a monster, of a form which only a diseased fancy could conceive. يبدو أنه نوع من الوحش ، أو رمز يمثل وحشًا ، بشكل لا يمكن أن يتخيله سوى خيال مريض. Parecía ser una especie de monstruo, o símbolo que representaba a un monstruo, de una forma que sólo una fantasía enfermiza podía concebir. Parecia ser uma espécie de monstro, ou símbolo representando um monstro, de uma forma que só uma fantasia doentia poderia conceber. 它似乎是一种怪物,或者代表怪物的象征,只有病态的幻想才能想象出来。 If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing. إذا قلت إن خيالي الباهظ إلى حد ما قد أسفر عن صور متزامنة لأخطبوط وتنين ورسم كاريكاتوري بشري ، فلن أكون غير مخلص لروح الشيء. Si digo que mi imaginación un tanto extravagante produjo imágenes simultáneas de un pulpo, un dragón y una caricatura humana, no seré infiel al espíritu de la cosa. Se eu disser que minha imaginação um tanto extravagante rendeu imagens simultâneas de um polvo, um dragão e uma caricatura humana, não serei infiel ao espírito da coisa. A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. يعلو رأس لبّي ذو مجسات جسم بشع ومتقشر بأجنحة بدائية ؛ ولكن كان المخطط العام للكل هو الذي جعل الأمر مخيفًا للغاية. Una cabeza pulposa con tentáculos coronaba un cuerpo grotesco y escamoso con alas rudimentarias; pero era el contorno general del conjunto lo que lo hacía más espantosamente espantoso. Uma cabeça polpuda, com tentáculos, sobrepujava um corpo grotesco e escamoso com asas rudimentares; mas era o contorno geral do todo que o tornava mais assustadoramente assustador. 一个长着触手的肉质脑袋顶着一个长着简陋翅膀的怪诞鳞片状的身体;但最令人震惊的,是整体的轮廓。 Behind the figure was a vague suggestion of a Cyclopean architectural background. Atrás da figura havia uma vaga sugestão de um fundo arquitetônico ciclópico.

The writing accompanying this oddity was, aside from a stack of press cuttings, in Professor Angell's most recent hand; and made no pretense to literary style. La escritura que acompañaba a esta rareza estaba, aparte de una pila de recortes de prensa, en la mano más reciente del profesor Angell; y no hizo ninguna pretensión de estilo literario. A escrita que acompanhava essa esquisitice estava, além de uma pilha de recortes de imprensa, na caligrafia mais recente do professor Angell; e não fez pretensão de estilo literário. 除了一堆新闻剪报之外,伴随着这种奇怪的文字在安吉尔教授最近的手中。并没有伪装文学风格。 What seemed to be the main document was headed "CTHULHU CULT" in characters painstakingly printed to avoid the erroneous reading of a word so unheard–of. Lo que parecía ser el documento principal estaba encabezado "CULTO CTHULHU" en caracteres minuciosamente impresos para evitar la lectura errónea de una palabra tan inaudita. O que parecia ser o documento principal tinha o título "CTHULHU CULT" em caracteres meticulosamente impressos para evitar a leitura errônea de uma palavra tão inédita. This manuscript was divided into two sections, the first of which was headed "1925—Dream and Dream Work of H.A. Wilcox, 7 Thomas St., Providence, R. I. ", and the second, "Narrative of Inspector John R. Legrasse, 121 Bienville St., New Orleans, La., at 1908 A. A. S. Mtg.—Notes on Same, & Prof. Webb's Acct." The other manuscript papers were brief notes, some of them accounts of the queer dreams of different persons, some of them citations from theosophical books and magazines (notably W. Scott–Elliot's Atlantis and the Lost Lemuria), and the rest comments on long–surviving secret societies and hidden cults, with references to passages in such mythological and anthropological source–books as Frazer's Golden Bough and Miss Murray's Witch–Cult in Western Europe. 其他手稿是简短的笔记,其中一些记录了不同人的奇怪梦想,其中一些引自神智书籍和杂志(特别是 W. Scott-Elliot 的亚特兰蒂斯和失落的利莫里亚),其余的评论很长——幸存的秘密社团和隐藏的邪教,参考了神话和人类学资料中的段落,例如弗雷泽的金枝和默里小姐的西欧女巫崇拜。 The cuttings largely alluded to outré mental illness and outbreaks of group folly or mania in the spring of 1925. Los recortes aludieron en gran medida a enfermedades mentales extremas y brotes de locura o manía grupal en la primavera de 1925. 这些剪报在很大程度上暗示了 1925 年春天的精神疾病和集体愚蠢或狂热的爆发。

The first half of the principal manuscript told a very particular tale. 主要手稿的前半部分讲述了一个非常特殊的故事。 It appears that on March 1st, 1925, a thin, dark young man of neurotic and excited aspect had called upon Professor Angell bearing the singular clay bas–relief, which was then exceedingly damp and fresh. Выяснилось, что 1 марта 1925 года худощавый смуглый молодой человек невротического и возбужденного вида зашел к профессору Энджеллу с необычным глиняным барельефом, который тогда был чрезвычайно влажным и свежим. His card bore the name of Henry Anthony Wilcox, and my uncle had recognized him as the youngest son of an excellent family slightly known to him, who had latterly been studying sculpture at the Rhode Island School of Design and living alone at the Fleur–de– Lys Building near that institution. Su tarjeta llevaba el nombre de Henry Anthony Wilcox, y mi tío lo había reconocido como el hijo menor de una excelente familia que apenas conocía, que últimamente había estado estudiando escultura en la Escuela de Diseño de Rhode Island y vivía solo en la Fleur-de. – Edificio Lys cerca de esa institución. На его визитной карточке значилось имя Генри Энтони Уилкокса, и мой дядя узнал в нем младшего сына знатной семьи, мало знакомой ему, недавно изучавшей скульптуру в Школе дизайна Род-Айленда и жившей в одиночестве в Музее Флер-де-Флер. – Lys Building рядом с этим учреждением. Wilcox was a precocious youth of known genius but great eccentricity, and had from childhood excited attention through the strange stories and odd dreams he was in the habit of relating. Уилкокс был не по годам развитым юношей, известной гениальностью, но большой эксцентричностью, и с детства привлекал внимание странными историями и причудливыми снами, которые он имел привычку рассказывать. He called himself "psychically hypersensitive", but the staid folk of the ancient commercial city dismissed him as merely "queer." Se llamó a sí mismo "psíquicamente hipersensible", pero la gente seria de la antigua ciudad comercial lo descartó como simplemente "queer". Он называл себя «психически сверхчувствительным», но солидные жители древнего торгового города считали его просто «чудаком». 他称自己为“精神过敏”,但古商城的老实人却认为他只是“怪人”。 Never mingling much with his kind, he had dropped gradually from social visibility, and was now known only to a small group of esthetes from other towns. Никогда особо не общаясь с себе подобными, он постепенно терял известность в обществе и теперь был известен лишь небольшой группе эстетов из других городов. 他从不与他的同类混为一谈,逐渐淡出社会知名度,现在只为来自其他城镇的一小群美学家所知。 Even the Providence Art Club, anxious to preserve its conservatism, had found him quite hopeless. Даже Художественный клуб Провиденс, стремившийся сохранить свой консерватизм, нашел его совершенно безнадежным.

On the occasion of the visit, ran the professor's manuscript, the sculptor abruptly asked for the benefit of his host's archeological knowledge in identifying the hieroglyphics of the bas–relief. Con motivo de la visita, decía el manuscrito del profesor, el escultor pidió bruscamente el beneficio de los conocimientos arqueológicos de su anfitrión para identificar los jeroglíficos del bajorrelieve. По случаю визита, говорилось в рукописи профессора, скульптор внезапно попросил помощи у хозяина в его археологических познаниях в определении иероглифов на барельефе. 在访问之际,根据教授的手稿,雕塑家突然要求他的主人的考古知识有助于识别浅浮雕的象形文字。 He spoke in a dreamy, stilted manner which suggested pose and alienated sympathy; and my uncle showed some sharpness in replying, for the conspicuous freshness of the tablet implied kinship with anything but archeology. Hablaba de una manera soñadora y forzada que sugería pose y simpatía enajenada; y mi tío mostró cierta agudeza al responder, porque la llamativa frescura de la tablilla implicaba parentesco con cualquier cosa menos con la arqueología. Он говорил мечтательно, неестественно, что наводило на мысли о позе и вызывало отчужденное сочувствие; и мой дядя проявил некоторую резкость в ответ, так как бросающаяся в глаза свежесть таблички подразумевала родство с чем угодно, но только не с археологией. 他以一种梦幻般的、生硬的方式说话,暗示了姿势和疏远了同情。我叔叔的回答显得有些犀利,因为这块石板明显的新鲜度暗示着它与考古学以外的任何事物都有血缘关系。 Young Wilcox's rejoinder, which impressed my uncle enough to make him recall and record it verbatim, was of a fantastically poetic cast which must have typified his whole conversation, and which I have since found highly characteristic of him. La réplica del joven Wilcox, que impresionó a mi tío lo suficiente como para hacerle recordar y registrarla textualmente, tenía un tono fantásticamente poético que debe haber tipificado toda su conversación, y que desde entonces he encontrado muy característico de él. He said, "It is new, indeed, for I made it last night in a dream of strange cities; and dreams are older than brooding Tyre, or the contemplative Sphinx, or garden–girdled Babylon." Él dijo: "Es nuevo, en verdad, porque lo hice anoche en un sueño de ciudades extrañas; y los sueños son más antiguos que la melancólica Tiro, o la contemplativa Esfinge, o la Babilonia rodeada de jardines".

It was then that he began that rambling tale which suddenly played upon a sleeping memory and won the fevered interest of my uncle. Fue entonces cuando comenzó esa historia incoherente que de repente jugó con un recuerdo dormido y ganó el interés febril de mi tío. There had been a slight earthquake tremor the night before, the most considerable felt in New England for some years; and Wilcox's imagination had been keenly affected. Upon retiring, he had had an unprecedented dream of great Cyclopean cities of Titan blocks and sky–flung monoliths, all dripping with green ooze and sinister with latent horror. Al jubilarse, había tenido un sueño sin precedentes de grandes ciudades ciclópeas de bloques de Titán y monolitos arrojados por el cielo, todos goteando cieno verde y siniestros con un horror latente. 退休后,他空前地梦想着巨大的独眼巨人城市,由泰坦块和高耸入云的巨石组成,全都滴着绿色的软泥,并带有潜在的恐惧。 Hieroglyphics had covered the walls and pillars, and from some undetermined point below had come a voice that was not a voice; a chaotic sensation which only fancy could transmute into sound, but which he attempted to render by the almost unpronounceable jumble of letters: "Cthulhu fhtagn." Los jeroglíficos habían cubierto las paredes y los pilares, y desde algún punto indeterminado de abajo había llegado una voz que no era una voz; una sensación caótica que sólo la fantasía podía transmutar en sonido, pero que él intentó traducir mediante el revoltijo de letras casi impronunciable: "Cthulhu fhtagn".

This verbal jumble was the key to the recollection which excited and disturbed Professor Angell. Este revoltijo verbal fue la clave del recuerdo que excitó y perturbó al profesor Angell. He questioned the sculptor with scientific minuteness; and studied with frantic intensity the bas–relief on which the youth had found himself working, chilled and clad only in his night clothes, when waking had stolen bewilderingly over him. Cuestionó al escultor con científica minuciosidad; y estudió con frenética intensidad el bajorrelieve en el que el joven se había encontrado trabajando, helado y vestido sólo con su ropa de dormir, cuando el despertar se había apoderado de él desconcertantemente. 他用科学的细致向雕塑家提问;并疯狂地研究着青年发现自己正在工作的浅浮雕,他只穿着睡衣,冷冰冰的,醒来时迷惑不解地偷走了他。 My uncle blamed his old age, Wilcox afterwards said, for his slowness in recognizing both hieroglyphics and pictorial design. Mi tío culpó a su vejez, dijo después Wilcox, de su lentitud para reconocer tanto los jeroglíficos como el diseño pictórico. Many of his questions seemed highly out of place to his visitor, especially those which tried to connect the latter with strange cults or societies; and Wilcox could not understand the repeated promises of silence which he was offered in exchange for an admission of membership in some widespread mystical or paganly religious body. Muchas de sus preguntas le parecieron muy fuera de lugar a su visitante, especialmente aquellas que intentaban relacionar a éste con cultos o sociedades extrañas; y Wilcox no podía entender las repetidas promesas de silencio que se le ofrecían a cambio de la admisión de ser miembro de algún cuerpo religioso místico o pagano muy difundido. 他的许多问题对他的来访者来说似乎非常不合适,尤其是那些试图将后者与奇怪的邪教或社会联系起来的问题。威尔科克斯无法理解他一再承诺保持沉默,以换取他加入某个广为流传的神秘或异教宗教团体的成员资格。 When Professor Angell became convinced that the sculptor was indeed ignorant of any cult or system of cryptic lore, he besieged his visitor with demands for future reports of dreams. Cuando el profesor Angell se convenció de que el escultor ignoraba cualquier culto o sistema de conocimiento críptico, asedió a su visitante con demandas de futuros informes de sueños. This bore regular fruit, for after the first interview the manuscript records daily calls of the young man, during which he related startling fragments of nocturnal imagery whose burden was always some terrible Cyclopean vista of dark and dripping stone, with a subterrene voice or intelligence shouting monotonously in enigmatical sense–impacts uninscribable save as gibberish. Esto dio frutos regulares, pues después de la primera entrevista, el manuscrito registra las llamadas diarias del joven, durante las cuales relató sorprendentes fragmentos de imágenes nocturnas cuya carga era siempre una terrible vista ciclópea de piedra oscura y goteante, con una voz subterránea o una inteligencia que gritaba. monótonamente en un sentido enigmático, impactos indescriptibles excepto como galimatías. Это приносило регулярные плоды, так как после первого интервью в рукописи были записаны ежедневные крики молодого человека, во время которых он рассказывал поразительные фрагменты ночных образов, бременем которых всегда был какой-то ужасный циклопический вид из темного и капающего камня, с подземным голосом или разумным криком. монотонно в загадочном смысле - производит впечатление неописуемого, кроме тарабарщины. The two sounds frequently repeated are those rendered by the letters "Cthulhu" and "R'lyeh." Los dos sonidos que se repiten con frecuencia son los que representan las letras "Cthulhu" y "R'lyeh".

On March 23, the manuscript continued, Wilcox failed to appear; and inquiries at his quarters revealed that he had been stricken with an obscure sort of fever and taken to the home of his family in Waterman Street. El 23 de marzo, prosigue el manuscrito, Wilcox no apareció; y las indagaciones en sus aposentos revelaron que había sido atacado por una extraña especie de fiebre y llevado a la casa de su familia en Waterman Street. 3月23日,手稿继续,威尔科克斯没有出现;对他住处的询问表明,他患了一种不明原因的发烧,并被带到沃特曼街的家人家里。 He had cried out in the night, arousing several other artists in the building, and had manifested since then only alternations of unconsciousness and delirium. Había gritado en la noche, despertando a varios otros artistas en el edificio, y había manifestado desde entonces sólo alternancias de inconsciencia y delirio. 他在夜里的叫喊声惊动了大楼里的其他几位艺术家,从那时起,他只表现出昏迷和谵妄的交替。 My uncle at once telephoned the family, and from that time forward kept close watch of the case; calling often at the Thayer Street office of Dr. Tobey, whom he learned to be in charge. Mi tío telefoneó inmediatamente a la familia, y desde ese momento en adelante siguió de cerca el caso; llamando a menudo a la oficina de Thayer Street del Dr. Tobey, a quien aprendió a estar a cargo. The youth's febrile mind, apparently, was dwelling on strange things; and the doctor shuddered now and then as he spoke of them. La mente febril del joven, al parecer, estaba pensando en cosas extrañas; y el médico se estremecía de vez en cuando al hablar de ellos. They included not only a repetition of what he had formerly dreamed, but touched wildly on a gigantic thing "miles high" which walked or lumbered about. Incluían no sólo una repetición de lo que había soñado anteriormente, sino que tocaban salvajemente una cosa gigantesca de "millas de altura" que caminaba o se arrastraba pesadamente. 它们不仅包括重复他以前的梦想,而且还疯狂地触及了一个巨大的“数英里高”的东西,它走路或蹒跚而行。

He at no time fully described this object but occasional frantic words, as repeated by Dr. Tobey, convinced the professor that it must be identical with the nameless monstrosity he had sought to depict in his dream–sculpture. En ningún momento describió completamente este objeto, pero algunas palabras frenéticas, repetidas por el Dr. Tobey, convencieron al profesor de que debía ser idéntico a la monstruosidad sin nombre que había tratado de representar en la escultura de sus sueños. Reference to this object, the doctor added, was invariably a prelude to the young man's subsidence into lethargy. La referencia a este objeto, agregó el médico, era invariablemente un preludio del hundimiento del joven en el letargo. His temperature, oddly enough, was not greatly above normal; but the whole condition was otherwise such as to suggest true fever rather than mental disorder. Su temperatura, curiosamente, no estaba muy por encima de lo normal; pero todo el estado era por lo demás tal que sugería una verdadera fiebre más que un trastorno mental.

On April 2 at about 3 P.M. every trace of Wilcox's malady suddenly ceased. todo rastro de la enfermedad de Wilcox cesó de repente. He sat upright in bed, astonished to find himself at home and completely ignorant of what had happened in dream or reality since the night of March 22. Pronounced well by his physician, he returned to his quarters in three days; but to Professor Angell he was of no further assistance. Pronunciado bien por su médico, volvió a sus aposentos a los tres días; pero para el profesor Angell no fue de más ayuda. 他的医生说得很好,三天后他就回到了自己的住处。但对安吉尔教授来说,他没有进一步的帮助。 All traces of strange dreaming had vanished with his recovery, and my uncle kept no record of his night–thoughts after a week of pointless and irrelevant accounts of thoroughly usual visions. Todos los rastros de sueños extraños se habían desvanecido con su recuperación, y mi tío no mantuvo ningún registro de sus pensamientos nocturnos después de una semana de relatos inútiles e irrelevantes de visiones completamente habituales.