Dread is the first and the strongest types of fear. It is that tension, that waiting that comes when you know there is something to fear but you have not yet identified what it is. The fear that comes when you first realize that your spouse should have been home an hour ago; when you realize that a window you are sure you closed is now open, the curtains billowing, and you're alone in the house.Terror only comes when you see the thing you're afraid of. The intruder is coming at you with a knife. The headlights coming toward you are clearly in your lane. The Klansmen have emerged from the bushes and one of them is holding a rope. This is when all the muscles of your body, except perhaps the sphincters, tauten and you stand rigid; or you scream; or you run. There is a frenzy to this moment, a climactic power-but it is the power of release, not the power of tension. And bad as it is, it is better than dread in this respect: Now, at lest, you know the face of the thing you fear. You know its borders, its dimensions. You know what to expect.Horror is the weakest of all. After the fearful thing has happened, you see its remainder, its relics. The grisly, hacked-up corpse. Your emotions range from nausea to pity for the victim. And even your pity is tinged with revulsion and disgust; ultimately you reject the scene and deny its humanity; with repetition, horror loses its ability to move you and, to some degree, dehumanizes the victim and therefore dehumanizes you. As the sonderkommandos in the death camps learned, after you move enough naked murdered corpses, it stops making you want to weep or puke. You just do it. They've stopped being people to you.

It is this outer reach of existential abnegation _ the moment where subjective identity deserts itself and becomes enslaved without consciousness of its subjugated condition _ that Mirbeau consistently sought to decry with horror.

The stuff of nightmare is their plain bread. They butter it with pain. They set their clocks by deathwatch beetles, and thrive the centuries. They were the men with the leather-ribbon whips who sweated up the Pyramids seasoning it with other people's salt and other people's cracked hearts. They coursed Europe on the White Horses of the Plague. They whispered to Caesar that he was mortal, then sold daggers at half-price in the grand March sale. Some must have been lazing clowns, foot props for emperors, princes, and epileptic popes. Then out on the road, Gypsies in time, their populations grew as the world grew, spread, and there was more delicious variety of pain to thrive on. The train put wheels under them and here they run down the log road out of the Gothic and baroque; look at their wagons and coaches, the carving like medieval shrines, all of it stuff once drawn by horses, mules, or, maybe, men.

The good man is free, even if he is a slave. The evil man is a slave, even if he is a king.

I refused to teach Sunday school. When Archdeacon Henry Phillips, my last rector, died, I flatly refused again to join any church or sign any church creed. From my 30th year on I have increasingly regarded the church as an institution which defended such evils as slavery, color caste, exploitation of labor and war.

But if you caught my informant,' said Achilles, 'why in the world would Chamrajnagar__r Graff, if it was him__aunch the shuttle anyway? Was catching me doing something naughty so important they__ risk a shuttle and it__ crew just to catch me? I find that quite_ flattering. Sort of like winning the Nobel Prize for scariest villain.